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FLORIDA NATURAL GAS ASSOCUTION
■11
CONTENTS
U- OF FLA. LIBRARIES
FLORIDA/CARIBBEAN ARCHITECT _-
Spring 1997 Vol. 44. No. 1
Cover:
Kings Point Theater fo7- the Performing Arts, Tamarac, Florida.
Computer-Aided Drafting & Design Enhancing the Process
Features
Realistic Simulations Offer Solid Solutions 10
Bermello, Ajamil & Partners's advanced software program graphically recasts operations analysis into poweiful design information.
Calculating Comfort and Performance 14
R. J. Heiscnbottle Architects and the KTGY Group found that computers were critical in designing perfect sound, sight, and comfort into this community pet fo-nning arts center.
Sophisticated Design
for Secure Student Living 16
Beyond its practical purpose, this student housing designed by Mateu Carrefio Rizo & Partners adds some architectural pizzazz to the Florida Atlantic University campus.
Using Advanced Technology
to Reflect on the Past 18
For this battlefield memorial and visitors center design, the team of John Dehaii, AIA Assoc, Ron Witte, and Sarah Wliiting used CADD "to explore a lot of ideas in a short period of time. "
Departments
Editorial
News
Books
New Products and Services
Legal Note
by Robert Alfert, Jr, Esq., Assoc. AIA
Index to Advertisers
3 4 6 8 22
24
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FLORID/VCARIBBEAN ARCHITECT Spring 1997
EDITORIAL
FLORIDA/CARIBBEAN .\RCniTECT
Florida Association of the American Institute of Architects
104 East Jefferson Street Tallaliassee, Florida 32301
Editorial Board
John Totty, AIA, Chaimian John Howey, FAIA Karl Thome, AIA
President
John R. Cochran, Jr., AIA
Vice President/President-elect
Roy Knight, FAIA
Secretary/TVeasurer
Vivian Salaga, AIA
Past President
William BUzzard, ALA
Senior Regional Director
Henry C. Alexander, Jr, AIA Coral Gables
Regional Director
John P. Tice, Jr, AIA
Vice President for Professional Excellence
Ivan Johnson, AIA
Vice President for Political Effectiveness
Debra Lupton, AIA
Vice President for Communications
Keith Bailey, AIA
Executive Vice President
George A. Allen, CAE, Hon. AIA
Editor
Margaiet Baiiow
Published by
Dawson Publications, Inc. 2236 Greenspring Drive Tmionium, Maryland 21093 (410) 560-5600 (800) 322-3448 Fax: (410) 560-5601
Publisher
Denise Rolph
Sales Manager
Dave Patrick
Layout & Design
Aniy King
Floridoy'f^nnbbpan Airhitprt, OfficiaJJounial of the Florida Association of the American Institute of Architects, is owned by the Association, a Florida Corporation, not for profit. ISSN-001.5- 3907. It is published four times a .vear and distributed through the Executive Office of the Association. 104 East Jefferson St., T^ahassee, Florida 32301. Telephone 904/222-7590.
Opinions expressed by contributors are not necessarily those of AIA Florida. Editorial material may be reprinted only with the express permission of Floridti^Cnribbean Architect.
Single copies, $6.00; aimual subscription, $20.33. Third class postage
Wi
elcome to the first issue ofFloiida/Caribbean Architect, with our new masthead tliat acknowledges the ties we have with our fellow practitioners in the Caribbean. We are a Region, and finally, we are starting to act as one! In his editorial in the January 1997 Architectural Record, Robert Ivey, FAIA, writes that "this is a dynamic moment for Architecture, a profession poised for the millennium — fueled by a robust economy, enriched by a plurality of styles, challenged by new ways of doing business, informed by increasing diversity of the workforce, and brimming with information and technical advancement." How appropriate that statement is for our Region. A few months ago, after more than a year of planning, the Caribbean Basin Initiative was formed to bring Florida and Caribbean archi- tects closer together. From it came an independent organization knowai as Busi- ness Horizons for the Americas. Members of AIA Florida, AIA Puerto Rico, and AIA Virgin Islands, and our two AIA Florida/Caribbean Regional Directors, Henry Alexander, AIA, and Tom Marvel, FAIA, worked hard, incorporating a variety of businesses and their representatives who shared one common interest: regional bridging. Last November, in San Juan, the first Business Horizons Conference brought together an enthusiastic group of architects Emd business people to share their views and outline future endeavors.
As Florida, the Caribbean, and South and Central America are tied together in so many ways, it seems vital for us, as architects, to be prepared to think and practice as a Region. To encourage this broadened view, we invite you to help us present examples of architectural excellence representing this entire Re- gion. This inaugural issue is also the first by our new publisher, Dawson Publi- cations, Inc. Let us know what you think.
Change is in the air So many changes have occurred in the way we practice in just the last few years. Change also is occurring rapidly in our Association. New management styles aimed toward making AIA Florida more responsive to the needs of membership are occurring at both the State Board and Chapter levels. Proactivity is the guiding force as we strive to "poise ourselves for the millennium." No longer is the status quo acceptable. To ensure that our practices are protected, both now and in the future, we are not waiting for changes, we are making them happen.
We also are demanding change from National AIA. We made ourselves heard loud and clear again this year at Grassroots, and they took notice. No doubt, we will continue to "shout," and we hope that they will continue to listen.
With due respect to Mr. Ivey, we have adopted his phrase "Poised for the Millennium," as the theme for our AIA Florida Annual Convention. This sum- mer in Orlando we will again be offering seminars and CEUs on issues critical to our practices.
Change can be good. We as architects need to be able to change and to accept change. How else can we, as our Vision states, be "a imited association of Archi- tects who lead the shaping of Florida's futme." Tliis is a "dynamic moment for architecture," a profession "poised for the millemiium." The Florida/Caribbean Region is getting ready for the ftiture.
John R. Cochran, Jr., AIA, President
Florida/Caribbean Architect serves the profession by providing current information on design, practice management, technology, environment, energy, preservation and devolopment of lommnnities, construction, fmance, econontics, as well as other political, social, and cultural issues that impact the field.
FLUiyiWi;.\RIUIiE.\N .\RCHITEGT Spring 1997
NEWS
AIA Florida Receives Grant to Oppose BOPE Rule-Making
Tlie National AIA Governmen- tal Affairs Advisory Committee has approved an award to AIA Florida totalling $20,000. The grant money is designated for use in opposing the Board of Profes- sional Engineers' (BOPE) rule that engineers be allowed to sign and seal building plans.
The grant comes from a $100,000 state component fimd established by National AIA last year to help states deal with criti- cal issues that stand to have broad impact. Bill Blizzard, last year's ALA Florida president, and other large state component presidents urged National to cre- ate the fund as a means of taking a more proactive stance in assist- ing states in these types of efforts. National is now being urged to enlarge the fimd in or- der to sustain support over several years.
Bailey Recognized for Government Affairs Work
Keith Bailey, AIA, was honored by National AIA for his "outstanding individual contribution to govern- ment affairs." The award was presented on February 6, 1997, at the Government Affairs Day luncheon at AIA's annual Na- tional Grassroots Conference in Washington, D.C. Bailey was rec- ognized for his tireless work in opposing the Florida BOPE ef- forts to allow engineers to design buildings for human habitation and use.
Bailey, of the Maitlcind firm of Helman Hurley Charvat Peacock, is the current AIA Florida Vice President for Communications.
UF Professor Honored for Teaching Excellence
Stephen D. Luoni, Assistant Professor in the College of Archi- tecture at the University of Florida, Gainesville, received a
1996 AIA Education Honors Award. His third-year design studio sequence, entitled Land- scapes: Patterns and Processes, "avoided the professional incli- nation to reduce landscape to a visual phenomenon, employing instead nondisciplinary strate- gies of seeing that cultivate an understanding for the deep eco- logical work accomplished by the land, yet suggest responsible possibilities for construction."
Luoni's course was one of four awarded this top honor. The AIA Education Honors Pro- gram was created several years ago to recognize outstanding teaching faculty for their accom- plishments and to provide pubUc exposure of the excellent classroom and studio work produced by these faculty mem- bers. Eight additional courses were cited, including four hon- orable mentions. The jury, chaired by Daniel Friedman, AIA, Associate Professor, School of Architecture and In- terior Design, University of Cincinnati, made its selections from 78 entries.
In addition to their publica- tion in the AIA's monograph. Teaching Excellence 1996, the award winning courses — repre- sented by an abstract, educa- tional goals and strategies, and evaluation criteria — are posted on the Internet at aia.org/ arched. htm
AIA Florida Outlines Proactive Legislative Program
Florida legislators began the
1997 session on March 4 poised to face two major challenges. In addition to finding fimds for edu- cation improvements, they will be addressing the need for
greater economic development and job development in the state. While AIA Florida's governmen- tal affairs section supports these efforts, it also brings its own menu of concerns to the legisla- tive table.
At a January meeting in Tal- lahassee, the AIA Florida Board of Directors met with legislators to discuss a range of issues. Foremost was its opposition to any efforts to change the Con- sultants Competitive Negotiation Act (CCNA), which prescribes the method by which architects are selected for public works. The Board also is seeking con- sideration of methods to improve the efficiency of the De- partment of Business and Professional Regulation. Other issues on which the Board is tak- ing a position include support for the establishment of a require- ment that would protect architects from frivolous law- suits, support for a statewide uniform building code, and op- position to the effort to create stock school plans.
AIA Florida also is monitor- ing legislation being proposed by the Department of Commu- nity Affairs (DCA) concerning amendments to the Florida Ac- cessibility Building Code. The U.S. Department of Justice has infonned the DCA that Florida's law does not conform to federal ADA requirements.
In a continuing effort, AIA Florida is opposing the Board of Professional Engineers' bid to approve a nile that would allow licensed engineers in Florida to design buildings for human habitation and use. Still in the public workshop stage, a draft of the proposed rule was not available at press time.
Under close scrutiny is the request for a declaratory state- ment by the Board of Building Code Administrators and In- spectors (BCAI) on whether architects need to be licensed by them to perform building in- spections. By statute, inspecting buildings is part of the practice
of architecture. This could be- come a legislative issue if BCAI asks architects to obtain yet an- other license do what is already required in their practice act.
Good News about Salaries
Architects' earnings are on the rise, according to a report on national compensation trends. AIA research contained in Com- pensation at U.S. Architecture Firms shows that associate ar- chitect (reports to a principal) salaries in 1996 averaged $-58,900, 24 percent more than in 1990. Associate architects in Florida averaged $56,400.
The report covers compen- sation data on 19 positions in architectural firms in 31 states and 18 metropolitan areas. Cop- ies are available for $15 through Karen Jones at AIA Florida.
In Memoriam
Sam Kruse, FAIA, died September 28, 1996, after a long illness. He was an AIA past president and regional director. Those wishing to make dona- tions in his memory may contribute to the Scholarship Fund, c/o AIA Miami, 800 Dou- glas Entrance, Suite 119, Coral Gables, FL 33134.
William Bigoney, FAIA emeritus, died December 23, 1996, in Fort Lauderdale. He was past president of Broward Chap- ter and a former member of AIA Florida Board of Directors.
Donald E. Mclntosii, AIA, died December 25, 1996, in Tampa. After a long career with the old Tampa Times, at age 48 he realized a lifelong dream of becoming an architect.
Correction
Fall 1996 Florida Architect, in Viewpoint by Carl Abbott, FAIA, St. Thomas More, Sarasota, photo credit: Steven Brooke.
FLOiyDA/CARIIiBE/VN ARCHITECT Spring 1997
AIA Virgiii Islands Awards Honor Respect for Tradition
Last December, the U.S. Vir- gin Island Chapter of AIA presented its bi-yearly Awards for Excellence in Architecture. Celebratory activities were open to community groups concerned with planning, gov- ernment, regional history, and preservation.
Frederik C. Gjessing, AIA
The chapter honored Frederik C. Gjessing, AIA, for his lifetime of achievement in preserving the region's architec- tural heritage. Among Gjessing's accomplishments have been several restorations, including the Steeple Building, Customs House, and Scale House in St. Croix, and numerous other projects in St. John, St. Thomas, and San Juan.
Projects selected by the jury were deemed "capable of eluci- dating issues relevant to the profession and the 11 S. Virgin Is- lands." All epitomized "a genuine desire to be contemporary with- out disregarding the traditional."
Two 1996 Awards for Excel- lence in Architecture were presented to Chalgub/Lanio Ar- chitects for the New Homeport Passenger Terminal (citation awaird) and for the Genip Garden Apartments in Frederiksted (merit award). An honor award was given to William Taylor Archi- tects for the St. Croix Reformed Church Proposal. Jurors were se- nior aichitecture editor for House Beautiful Susan Grant Lewin, Cayman Island architect and pres- ervationist John C.J. Doak, and Jorge Rigau, AIA, Dean of the School of Architecture at Poly- tecluiic University of Puerto Rico.
The New Homeport Passen- ger Temiinal "made evident the appropriateness of tum-of-the- century vocabulary in the Caribbean." Chalgub/Lanio's Genip Garden Apartments was declared "an interesting prob- lem...that could (and should) inspire discussion about the ur- ban future of St. Croix." Called "the most creative entry," the Reformed Church proposal ex- emplified "the essence of what tropical architecture entails: the adequate articulation of a skin to mediate between interior, exte- rior, and tradition."
Honor Award
TJicSt. Croix Reformed Church. St. Croix, USVI. by William A. Taylor, AIA
Merit Award
Genip Garden ApartTnents for the elderly. St. Croix, USVI, for Lutherayi Social Seiince.s of the Virgin Islands, by Chalgub/Lanio Architects, Inc.
Citation Award
Neu' Homeport Passenger Tenninal, Frederiksted, St. Croix, USVI, for the U.S. Virgin Islands Port Authority, by Chalgub/ Lanio Architects, Inc.
Award Recipients and Jurors
Prom left to right: Maria M. Chalgub, AIA; William A. Taylor, AIA; Susan Grant Lewin; Jorge Rigau, AIA; John C. Doak, RIB A; and Hortensia D. Lanio, AIA.
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FLORID/VCARIBBEAN ARCHITECT Spring 1997
BOOKS
Reviewed by Edward J. Seibert, AIA
Modern American Houses: Four Decades of Award- Winning Design in Architectural Record
Eel. Clifford A. Peaison, essays by Thomas Hine, Robert Campbell, Suzanne Stephens, Charles Gandee Harry N. Abrams in assoc. with Architectural Record, 1996 240 pages, 265 illus., $49.50
As an architect whose career started a half century ago, I found this book immensely in- teresting. I believe it would be of equal interest to architectural students, although to them it is history. The photographs, whether color or black and white, are magnificent and the text informative and thoughtful, attributes all too rai'e in books of this genre. As an avid reader of Record (and on several occa- sions pubhshed in it), the book seemed a dear and familiar friend from the start.
The first chapter, on the fif- ties, presents Paul Rudolph's Cohen house in Sarasota and I.M. Pel's "bridge house," both influ- ences on this young architect. Seminal homes of the sixties in- clude Robert Browne's beautiful Barrows house as well as Rudolph's icon, the Millam house. Among those represent- ing the seventies are several townhouses, Rudolph's Hirscli/ Halston in New York and Aitoine Predock's La Luz, as well as Meier's Shamberg house and Gwathmey Siegal's Haupt House. For the eighties and nineties there are stars like Robert Venturi, Ranch and Scott Brown, Andres Duany and Elizabeth Plater Zyberk, Arquitectonica, and Frank Gehry. Tliese houses that meant so much to me when they were published are but a few of the more than 60 in the book.
Besides those houses which influenced me at various times in my career, it was, in fact, sev- eral of the Florida residences that leapt off the page at me. Eveiy Florida aicliitect will have his or her own list of Eirchitects
and houses that been of influ- ence, or, like, favorite songs, re- call a certain time in one's life. It's a fine book for reminiscence and philosophy, with text that is quite scholarly and clear.
"The 1950s; Of Tailfins and Bugspray," by Thomas Hine, is an insightful chapter on the spirit of the architecture of that decade. "Architects tend to take a static, European view of their buildings, while those that inhabit them behave as nomads," Russell Lynes noted in a 1957 article. The bugspray in the title alludes to lUrich Franzen's house, where, "he exi:ilained that insect screens weren't necessaiy because he regulaily sprayed insecticides." Screening softens architectural qualities, making for gauzy ge- ometiy I foimd this particularly amusing because in a recent ar- ticle referring to my own screenless second story, I was quoted as saying "mosquitoes on the island don't fly over ten feet from the ground." My house may be nineties, but my attitude is pure fifties. The point is, if you are an architect, you will relate to the book.
In the chapter on the 1960s, subtitled "Playing by the Rules," Robert Campbell writes, "The 1960s, for American architec- ture, was the decade of how to
make beautiful and interesting form without using any ornament . . . Stick a Greek column or a Pal- ladian window on youi' house de- sign, and the taste police would put you in jaU." By the seventies, ornament had returned: it was postmodernism. Writes Campbell, "It's at least possible to argue that the '60s, struggling for its own kind of freedom within a rigid, unquestioned system of values, was a better era for ar- chitecture. Rigid systems have their virtues in the world of art. It's hard to make great chess moves without a board." I still remember my own st niggle with postmodernism then.
Evident in "The 1970s: A Time of Upheaval," by Suzanne Stephens, are the changing val- ues of that decade. Save for Charles Moore, Record showed few examples of the unmooring of architecture from the modern- ist idiom. It seemed to continue to adhere to the principles of modernism, including a strong value placed on simple, func- tional planning, expression of structure, and integration of ex- terior and interior spaces. As shown in a Fay Jones house, the Wrightean influence was again viable for Record.
The eighties, according to Charies Gandee in "The 1980s
Hibiscus House, Coconut Gwve, FL. Andres Duany and Elizabeth Plater-Zybcrk, Architects, 1983. Photogmph: Steven Bmokc. Page 177.
and '90s: Chipping Away at the Old-boy Network," brought a shift in Record's philosophy. The editors realized that the stars of the time were to be found not in their pages but in Progressive Architecture. One turned to P/A to find architects like Robert Venturi, Robert A.M. Stern, Frank Geliry, Rem Koolhaus, and Bernardo Fort-Brescia. The next decade changed that, with houses like Batey and Mack's Villa on the Bay, Bart Prince's own house in Albuquerque, and Arquitectonica's Casa los Andes. With its splendid photo- graphs and urbane, literate writ- ing, this book is a rare pleasure. I fliink all designer architects will enjoy the trip.
Building a Dream: The Art of Disney Architecture
by Beth Dunlop Harry N. Abrams, 1996 224 pages, 200 illus. $39.95
In his foreword to this hand- somely illustrated book, architectural historian Vincent Scully notes that "the very name 'Disney' is so packed with oppro- brium for old-line modernists that it took a certain amount of coiuage for Beth Dunlop to agree to write this book." As an "old line modernist" thus duly warned, I tried very hard to like the book. (I also wondered who it was that was trying to convince the author: Disney'?)
Certainly, putting the works of such cutting-edge architects as Michael Graves, Gwathmey Siegal, Robert A.M. Stern, Antoine Predock, Frank Gehry, Charles Moore, Stanley Tigennan, and Robert Venturi, to name but a few of the fascinat- ing architects involved, into one book makes for interest. I looked foi-waid to being drawn into the relationsliips between these stel- lar talents and the Disney orga- nization. Unfortunately, these relationships are covered throughout in an abbreviated and superficial way.
6
FUIKII).V(:ARII!BE.\N .XRCIIITKCT Spring 1997
You do discover that Michael Eisner, when he became the boss of all Mickey Mouse, had no idea of what architecture was about. Aware of this fact, his first archi- tectural thought was about how to overcome a bland hotel design then in planning. After "seven days — and seven sleepless nights" Eisner decided to set a new course for Disney architec- ture. He sought, and foimd, good advice from Wing Chao, now se- nior vice president of Disney Design and Development, and Victor Ganz, a friend who had been on the board of the Whitney Museum of Art. They gave him two names, Philip Johnson and Michael Graves.
One can only wonder about Graves's feelings when Eisner tells him to "lighten up" and he ends up with the seven dwarfs as caryatids on his otherwise spare and elegant Team Disney building in Burbank. Eisner thought the original design "looked too much like a bank" and asked Graves for "charac- ters." Says Eisner, "He first did typical characters. That looked really stupid. But the dwarfs, that was different, and of course there were enough of them to hold up the roof." This is just one of many instances where the author's failure to explore char- acter and relationships kept this from being a more satisfactory, perhaps even scholarly, book.
Another interesting conflict of ideas between Aldo Rossi and Eisner also is given only brief mention. When Rossi found he could not get along with Eisner, he wrote a letter invoking the tri- als of Bernini when working for Louis XIV. "I realize I am not Bernini, but you are not the King of France. I quit," wrote Rossi. They later reconciled and Rossi designed the offices for the Disney Development Company in Orlando.
Every architect knows full well the strong feelings that are engendered between client and architect, and how situa- tions can be exaggerated when both are powerful figures. Disney, a huge corporate enter- prise, must have had in-house differences and arguments about architectural philoso- phy, and these must have affected the architects' work. Although the book deals with literally dozens of the best ar- chitects, planners, and artists of our time, I always was left wanting to know more about what they are really like.
However, if you want to know what the best architects of our time do when confronted by a theme park assignment, this book shows you. Solutions range from stage set design (Toon Town) to amusement park (Tomorrow Land) to really fine solutions that can inspire
other architects. Personally, I feel that Isozaki's Team Disney building at Orlando alone puts Disney in the "patron of archi- tecture" category, while struc- tures such as Cinderella's Castle are but required stage sets. In this respect, the book works on several levels and might interest a wide range of people, from more esoteric students of design to those who simply enjoyed a trip to Disneyland. Perhaps it was intended thus.
I wish that Building a Dream had explored Disney's effect on Florida; in 1995 10.7 million visitors spent -$14.8 bil- lion in Central Florida. Florid- ians seem to have a love-hate relationship with Disney World. Not all see Disney World as bringing unmitigated to good to the state. Its growth has further stressed the state's already groaning infrastructure and, some say, tarnished Florida's natural appeal.
I also wish that the book said more about Celebration, the new town being developed near Orlando. Andres Duany worked on the master plan, and buildings include a city hall by Philip Johnson, a Preview Cen- ter by the late Charles Moore, a bank by Venturi, Scott-Brown and Associates, a post office by Graves, a cinema by Cesar Pelli, and so on. Says Disney Design and Development president Pe-
ter Rummel, "I think if Celebra- tion just becomes known as a place where a lot of great archi- tects did buildings, we've failed." Billed as a place "where families can rediscover such old fashioned virtues as neighborli- ness and sociability," it sounds as if it were another "Main Street" project. Lacking are de- tails about philosophical as- pects of the Disney approach to town planning.
In many ways. Building a Dream reminds me of those coffee table puff books, so in vogue, done to show off the work of a prestigious architect or firm: beautiful photography but not much written about problems, issues, or how the architects work. At the same time, I find myself browsing through this book of an evening, looking at the pictures and thinking about the work that this patron of architecture has caused to be built. I also enjoy wondering how many great ar- chitects have screwed them- selves into the ceiling working for this giant corporation. Like Disney theme parks, the book is a love-hate thing.
Reviewer Edward J. "Tim" Seibert, AIA, recipient of AIA Florida's 1995 Award for Honor in Design, has been practicing architectui'e in Sarasota since 1955. ♦
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NEW PRODUCTS AND SERVICES
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New Software for Designing Low-Energy Buildings
The Passive Solai' hidustries CouncU (PSIC) and the U.S. De- partment of Energy recently re- leased software for designing en- ergy-saving, climate-responsive buildings. Energy-10 enables ar- cliitects to select and evaluate the passive solar strategies best suited to their projects and cU- mate. The software calculates
"whole-building performance" and can produce detailed simula- tions. Graphic output shows where m^or savings opportimi- ties exist for heating, cooling, or lighting. To learn more or to or- der the software package, which includes a user manual, contact PSIC at (202) 628-7400, ext. 210, or by e-maU at psicdc@aol.com
We want Florida/Caribbean Architect to be an effective resource for AIA members when making their purchasing decisions. As an additional benefit, Dawson Publications is offering a Fax-On-Demand service.
Participating advertisers are assigned a four-digit code (located imder each ad). To access additional information al II )ut the advertiser's product and/or service, you only need to dial (410) 2.52-9-595 from your fax machine and listen to the voice prompts for further instructions. PRESTO - you will receive additional information about advertiser's products and/or services.
PhotoBubble^'^ Images
Omniview, hic.'s PhotoBubble technology can provide a new perspective on architecture.
Liglit-Filtering/Solar- Screening Films
Two opposing photographs taken with a standard fisheye lens are joined via computer im- age remapping, resulting in an in- teractive, spherical image with a 360-degree view from a given vantage point. Viewers, using CD-ROM, can "travel" through a series of linked PhotoBubble images, which virtually places them in the environment and lets them explore at their lei- sure. A PhotoBubble CD-ROM tour of Frank Lloyd Wright's Fallingwater demonstrates how architects and others can use this new technology to present their own spaces. For more in- formation, call Sharon Pound at (423) 983-4879, or check out the Omniview Web site at http:// www.omniview.com
Drinldng Water from the Ocean
Courtaulds Performance Films has prepared a Shade Film Stvatchbook, containing samples and performance data for 18 va- rieties of dyed, metallized, and sputtered polyester (PET) films designed for use in temporary window coverings. The films are intended for conversion into roll- down shades or vertical blinds for commercial and residential applications where outward vis- ibility is desired along with re- duction of incoming light, glare, and solar heat. The samples in- clude nonreflective, reflective, and semireflective films. All are impregnated with UV absorbers and offer protection for artwork as well as upholstery and furni- ture. For a free swatchbook or more information, call (800) 746- 8661, or fax (540) 627-3032.
FCI commercial watennaker
Filtration Concepts, Inc., Neptune Series watermakers, long used in a variety of boats, are also designed to meet the fresh water needs of land-based facilities such as hotels and pri- vate homes. Single-frame or modular reverse osmosis sys- tems offer watermaking capaci- ties of 2,400 to 4, 100 gallons per day. These products feature ad- vanced-engineered pressure vessels, hand-selected mem- branes, stainless steel fittings, water quality monitoring elec- tronics, and a fresh water flush that clears the system of corro- sive saltwater at each shutdown. For more information and specs, contact FCI at (800) 8.50- 0123 or fax (714) 850-0955.
FLORIDA/CARIBBE.VN ARCHITECT Spring 1997
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Pleose send solory history, cover letter and resume on white paper to:
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Fl,( )RiaV(.:ARIHI!E;\,N AK( :1IITECT Spring 1997
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Realistic Simulations Offer Solid Solutions
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Designing buildings and spaces to move people and goods through is a complex process. It is usually necessary to devise a number of feasible designs. In the past, chents had to stretch their imagination beyond the drawing board and models to detennine how effectively a design would fulfill their needs. "Final decisions," says architect Primi Conde, an associate at BermeUo, AjamU & Partners, Inc., "often hinged on hunches and best guesses."
No longer Now it is possible, using computer simulations, to demonstrate for clients not only how, but how well, a new facility will work. Bemiello & Ajamil's new software enables architects and engineers to offer clients computer-generated solutions and operations analyses based on a variety of 'Vhat-if' scenarios. The simulation program was devel- oped by Aviation Research Corp. in Montreal, Canada, and is being marketed under the name PPTS (People & Processes Through
Spaces). It is especially useful in the design and development of cniise and container terminals, airport terminals, and other projects that involve moving people and goods through built spaces.
The software transfomis database information into a graphic display that can be demonstrated in real-time or in other time indexes such as compressed time, which can show hours of activity in a few moments. B&A architects first
used PPTS in designing a terminal expansion for Carnival Cruise Line's Piers 6 and 7 in San Juan, Puerto Rico. Tlie project involves expanding and renovating the baggage claim hall for greater speed and efficiency, and enlarging the customs/inunigration area to accommodate Carnival's new, larger ships.
"Use of PPTS in this adaptive reuse situation helped point out potential problems with space reallotment," said B&A
Ground Floor Plan
South Elevation
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FLORIDA/CARIBBEAN ARCHITECT Spring 1997
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iVorf/( Elevation. Camival Cruise Line's Piers 6 and 7 expansion plan, San Juan. Ground floor with entry at one end, customs at the other, three baggage sections in between. Dayiit third/fourth floor houses large waiting area with security and check-in facilities below, small boarding hall above.
architect Ernie Garcia He iised the simulation to track the patlis and progress of 3,500 "vtrtiial passengers," showing them disembarking the cruise ship and proceeding tlirough baggage claim into immigration. "Not only did the program provide the exact nimiber of square feet required for the expansion, it also exposed potential bottle- necks at escalators and at baggage claim," added Garcia. Based on tlie sunulation, Garcia modified the preliminary immigration area layout to achieve the optimal solution for all expected traffic volimies. To eliminate the crowding situation, tlu-ee distinct (color- coded) baggage-claim sections were created to serve smaller passenger groups.
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The PITS softwaie produces useful information for the client as weU as for the architect. Besides allowing B&A to analyze operations for purposes of design, it can help clients maximize efficiencies by evaluating staffmg, hours, and other aspects of facility opera- tions. For example, statistics on the path, queuing, and processing times of individuals or groups can be defmed, as can interac- tions within specific areas of the facility.
Using the PPTS software, the architect can:
• identify peak capacity of the existing facilities
• test the adequacy of existing systems to meet future demands
Continued on page 12
FLORIDA/CARIBBEAN ARCHITECT Spring 1997
11
Realistic Simulations
Continued from page 11
Port of Algeciras, detail of master plan, indicating circulation patterns.
• generate facility requirements based on future demand and specified levels of semce
• evaluate alternate facility concepts and plans
• demonstrate existing and future operational problems in terminal components. Other measures and
evaluations detennined by the software are useful to clients, including:
• maximum and average waiting times, overall and at different periods
• level of service over time
• average and maximum queue lengths, for deriving space requirements
• duration of unacceptable service level, due either to waiting time or space
constraints
• total time staff is busy
• total time facility is being utilized.
An additional advantage is that the software will run an operational analysis that allows clients to evaluate the impact on customers of various staffing levels, even lunch breaks. While this program is particularly suited to terminal applications, it also can be applied in designing and evaluating banks, retail facilities, schools, theaters, museums, conference centers, medical centere — in other words, any space people enter, use for interactions, then leave.
To begin the process of modeling a new cruise terminal
for the Port of Algeciras, Spain, B&A simulation specialist R.W. Spisak Jr and architect Primi Conde started with a basic floor plan and information about how passengers would be routed and time required to pass immigration and police/ security checkpoints. They considered four possible scenarios:
1) three ships, 300 passengers each, arriving at 1/2-hour intervals, with 3-minute delay at immigration and police/security
2) tliree sliips, 300 passengers each, L/2-hour intervals, 1 1/2 minute delay at immigration/ security
3) two ships, 1000 passengers each, 1/2-hour intervals, 3-
minute delay at immigra- tion/security. 4) two ships, 1000 passengers each, 1/2-hour intervals, 1 1/2 minute delay at immigration/security B&As CADD files were imported into the PPTS software, along with informa- tion on passenger types, various passenger routes, and other fomtulae. "This was complicated at Algeciras by additional security require- ments for inbound passengers from one of the two originat- ing ports," Conde noted. It was necessary to establish the paths in the database module that works with the simulation tools. Timings (cross-checked by observations) were loaded,
12
FLORIDA/CARIBBEAN ARCHITECT Spring 1997
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Port ofAlgeciras terminals.
and the simulation model did a series of runs to construct the initial database. When outputs were checked against recorded field observations, modifica- tions were calculated accordingly.
After the simulation w£is analyzed and the charts produced and captured, the animation components were produced and assembled. As alternative simulation runs were modeled, recorded, and analyzed, animations were constructed from the various alternative models for each scenario. Each scenario showed:
• the number of passengers per square meter at different times of the day
• the distance in meters traveled during disembarking
• passenger counts and the time needed for passengers to exit the terminal
• duration of time in the terminal by ship number
• total number of passengers served by each queue
• queue time per ship
• time factors for each passenger count and time interval for different staffing levels (customs/ immigration, security, assistance).
These elements were easily observable in the simulations. What Spisak, Conde, and Garcia saw were dots, thou- sands of dots, one for each passenger, traveling through
the planned spaces, passing quickly through some areas and forming bottlenecks in problem stretches. Most important, the design could be modified along with any changes in initial assumptions: for example, reducing space for queuing in immigration and adding police stations to speed up extra security.
Conde and Garcia both found PPTS to be a valuable asset in designing these kinds of large "transfer" spaces. The simulations showed clearly where to "tweak" the designs for improved flow. For the brand new Algeciras facility, correctly sized spaces could be planned from the outset. However, said
Conde, "The simulation proved even more valuable in the San Juan adaptive reuse project, where old spaces had to be made workable for new purposes." ♦
Bermello, Ajamil & Partners, of Miami and Fort Lauderdale, received several major design awards last year, Including an AIA Florida Award for Excellence in Architecture.
FLORIDA/CARIBBEAN ARCHITECT Spring 1997
13
Calculating Comfort and Performance
Kings Point Theater for the Performing Arts Tamarac, Florida R.J. Heisenbottle Architects, P.A. and KTGY Group, Inc.
Tlieater design is an art in itsell'. Tlie end result must satisfy all the senses of both patrons and perfonners.
Coordinating the require- ments to achieve tliis goal for the Kings Point Theater was made easier for the arcliitects tluough their use of the 3-D modeling capabilities of their computers. Intricate design options could be studied quickly and were easy to alter The project, which received a 1996 Unbuilt Design Awaid fiom the AIA Fort Lauderdale Chapter, is now imder construction.
Tliis traditional proscenium theater was designed as a multipurpose performing arts facility for theater, music, dance, and film. Intended for a retirement community, the tlieater will be equipped with full theatrical lighting, rigging, and movie projection systems. Attention to planning for the specific needs of the predomi- nantly elderly patrons went beyond excellent acoustics and proper sight lines to include minimal steps and no balconies.
At the main entrance, a translucent glass wall broken by a deep canopy introduces a dynamic curvilinear lobby with a sloped ceiling. Three low-rise monumental stairs lead patrons to the 1,000-seat auditorium.
The computer was ex- tremely helpful in visualizing the radii and angles of both the hall and the lobby. It made it easy to accurately locate columns, window muUions, stairs, and floor and ceiling patterns, as well as lighting, HVAC and other building systems throughout.
T)w ynodel was created by lasei- aitting plastic elements based cm AUTOCAD dmwiugfiles. Photograph: Raul Pcdmso, Solo Photogmphy.
Theater designers in the past spent a great deal of time calculating the seating dish of the auditorium using elaborate formulEis. Here, with comput- ers, it was possible to resolve the seating layout, slope of the floor, and clear sight lines to the stage in minutes. Archi- tects could then study various
configurations to determine the best design for the client's program.
Acoustical effects designed to meet the desired criteria also could be studied via computer. Alternate render- ings of the acoustic environment allowed the testing of initial design
decisions so as to confirm or alter the characteristics of absorptive and reflective surfaces. It also was possible to determine the reverberation time at different frequencies to give a working profile of the finished space. The angles and height of the reflective panels are critical in directing the
14
FLORIDjVC.XRIBBE/VN .VRCHITECT Spring 1997
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The 3-D modeling capabilities were helpful in visualizing the radii and angles of the dramatic lobby.
sound throughout the audito- rium. Computers also assisted in the design of the electronic sound system by helping
the speakers and the aiming of each speaker element.
What used to take weeks in the design of live performance
determine overall placement of spaces now takes only days.
Design Architect:
R.J. Heisenbottle Architects, RA.
Principal in charge of Design:
R.J. Heisenbottle, AIA
Project Manager:
Neil Dixon, RA
Design Team:
Steve Avdakov, RA, Robert Jordan Soprurn III
Interior:
Miriam Collada-Myers
Architect of Record:
KTGY Group, Inc.
Principal in charge:
John Foti, AIA
Structural Engineer:
O'Donnell Naccaroto & Mignogna, Inc.
Civil Engineer:
Rhon Ernest Jones Consulting Engineers, Inc.
Mechanical/Electrical Engineer:
Henz Engineering, Inc.
Theatrical Systents/ Acoustics:
Arts Environments, Inc.
Owner:
Lennar Adult Communities
FLORIDjVCARiBBEAN ARCHITECT Spring 1997
15
Sophisticated Design for Secure Student Living
Student Apartment
Facility
Florida Atlantic University
Mateu Carreiio Rizo &
Partners
Finding affordable liousing is a perennial problem for students. But at fast-growing Florida Atlantic University, a cluster of new apartment-style residences seems made to order. Located right on campus, the units are comfort- able, convement, and safe.
The initial program specified housing for .525 and maximizing use of the on- campus site to enable future expansion to accommodate up to 1200 residents. To remain competitive with off-campus housing, the facilities would need a complement of ameni- ties and to be affordable and conducive to infomial student living. But one stipulation was foremost: Security.
Although there was a momentary temptation for architect Roney Mateu, ALA, and liis flnn of Mateu CaiTeno Rizo to respond in a traditional way with walls and fences, it passed. Here was a campus that had taken shape over the past few decades tluough quick solutions to immediate needs for academic and donTiitory build- ings. Here was a campus void of any sigiuficant arcliitecture.
Here was an opportimity to change that perception, to demonstrate that practical design need not lack creativity. They would meet the concerns for safety and security with a design that would promote social activities and protect student interactions tl\rough practical circulation concepts and organizational components.
Mateu's instincts proved correct. The completed project received a 1996 Award of Excellence from the ALA Miami Chapter.
Elevated pedestrian bridge leads students to canopied iiiliviice of the administnilion building
16
FLORIDA/CARIBBEjVN AKCIIITECT Spring 1997
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Portal along a stairwell wall frames a view of apartments along the elevated pedestrian bridge.
Overall the project included a 5,000 sf student services and administration building and seven apartment-style buildings, each acconunodating 75 residents in two- and four-person units, with two laundry and storage rooms. A 30-acre site on the southeast comer of the campus, was designated for the student apartments.
The complex is organized linearly in four clusters along both sides of a continuous open garden court. Circulation and access to apartment imits are provided via a ground-level walkway and an elevated "main
street," maximizing visual control and security within the complex. Secure parking for residents and visitors is situated to the east, between the complex and the El Rio Canal. Tlie adminis- tration building is situated toward the south, where it will become a central hub when later phases, including a pedestrian bridge across FAU Boulevaid, are developed.
A typical apartment building cluster is composed of four two- and tliree-story elements and a two-story service module. These service buildings are social gathering spaces as well
The interlocking pattern breaks up the massing into a scale and rhythm that brings the feel of a tropical village to this campus housing project.
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as being the controlled access points into the complex from the parking areas. Most of the units are accessed from the elevated walkway. In the four- person units, one enters at the living/dining/kitchen level, and goes either upstairs or down- stairs to the bedrooms. An interlocking pattern breaks up the massing of the 2,500-foot- long complex into a scale and rhythm that reinforces the idea of a tropical village in this South Florida caanpus context.
The use of CADD by the entiie design team allowed them to document vaiious concepts during schematic and design development phases. Changes to the large, complex, and repetitive plan were accomplished with relative ease and coordinated witliin all of tiie design disciplines. It also made it feasible to prepare alternate packages to be available during the bidding phase, prior to consti^iction. ♦
Architect:
Mateu Carreno Rizo & Partners
Principal in charge:
Roney J. Mateu, AIA
Landscape Architect:
Stresau Smith Stresau, RA., Fred Stresau, ASLA
Structural Engineer:
M.A. Suarez & Assoc, _ Mario Suarez, RE.
Civil Engineer:
Consultech, Inc.
Mechanical/Electrical Engineer:
Hufsey Nicolaides Garcia & Suarez
General Contractor:
Nycon Corp.
Owner:
Florida State University System
Photographs:
Carlos Domenech
4
FLORIDA/CARlBBE.\N ARCHITECT Spring 1997
17
Using Advanced Technology to Reflect on the Past
Memory Building, Battlefield Visitors Center Mills Springs, Kentucky Competition Submission John Dehart, AIA Assoc, with Ron Witte and Sarah Whiting
For the design of their entry to the Mills Springs Civil War battlefield Visitors Center, the team of John Dehart, Ron Witte (architect and professor), and Saiah Wliiting (professor and critic), used computers from the outset. Working dii-ectly in a 3-D environment, they used the digital model to examine design ideas as well as for final presentation drawings.
"We were able to exjjlore a lot of ideas in a short period of time," said Dehart, an associate at SMRT/Huntiiigton Dreher, Sarasota. And "walking through the model" substantially altered the way in wluch judgments could be made about spatial qualities such as scale, material- ity, and lighting. "Central to this process is the fact that the computer allows multiple layers of information involved in creating architecture to be compressed into a single medium," added Dehart.
What the team also found interesting is the fact that advancing technology, typically relegated to the construction of the building, has entered the domain of design.
At the outset the group felt that setting a visitors center on the site (as the competition program required) threatened to disrupt its powerfully evocative ambience. With this in mind, the idea developed of designing a stmcture that would serve both as a dramatic memorial — a purely symbolic gesture in the landscape — and a functional program center: a "memory building."
View from Ike circulation ramp toward the battlefield.
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FLORIDA/C.\RIBBEAN ARCHITECT Spring 1997
View at entry across field of cylinders.
Elements of the design were drawn from the site and context. A Kentucky limestone wall at the entrance, a simple gateway, evokes the nearby cemetery wall. A field of white cylinders along the grass-covered roof echoes the
stones placed long ago across the green hiUs to mark tlie graves of tliose who fell. Tlie rooftop entry sets the stage for the difficult history of the site.
Structure and symbol merge as one enters the center: the
symbolic posts on the roof are revealed to be structural timber colmiins. The interior forest of columns — deliberately dense — opens up at the public end of the building, creating a large unobstructed space from which
large groups of visitors can survey the battlefield.
Views ftom the rooftop and from within are meant to contrast and complement the various vantage points provided by the program and site. For example, from the lobby area, the building's length works like a telescope, concentrating the view toward the south on the distant horizon where much of the battle took place. ♦
Exterior view, with unifying stand of columns.
FLORIDA/CARIBBEAN jVRCHITECT Spring 1997
Viriv looking back through entry ramp.
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LEGAL NOTE
Understanding and Limiting Liability Tlirough an Analysis of Statutes of Limitations and Contract Rights
by Robert Alfert, Jr.. Esq., Assoc. AIA
Malpractice liability and limiting the risk of expo- sure continue to rank as the paramount issues confronting architects and other design pro- fessionals today. Statutes of limitations — laws that circum- scribe the period of time within
which a legal action may be brought — play a crucial role in this risk equation.
Ihider most circumstances, if a legal action is not instituted within the prescribed period, the right to sue is lost forever. Unfortunately, it is not always
easy to determine which stat- utes of limitations govern cer- tain activities. The purpose of this article is to allay some of the confusion by identifying those that are applicable to the types of activities routinely under- taken by design professionals.
Drysdale Residence, Atlantic Beach
William Morgan, FAIA William Morgan Architects, P.A.
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and to suggest methods for lim- iting exposure through intelli- gent contracting decisions.
The Statutes of Limitations Quagmire. The Florida Statutes articulate limitations periods governing both general conduct, ranging from negligence and breach of contract to fraud and other intentional torts, and spe- cific conduct. The standard rule of law is that specific statutes control over general statutes. For example, a malpractice ac- tion against an attorney techni- cally falls within the five-year statute for actions founded on a contract, the four-year statute for negligence actions, and the two- year statute for professional mal- practice. Since the latter is specific to professional malprac- tice, it takes precedence.
Unfortunately for design professionals, there are two spe- cific Florida Statutes arguably governing their activities: §95.11(4)(a), with a two-year limitation, for "professional malpractice," and §95.11(3)(c), with a four-year limitation, "founded on the design, plan- ning, or construction of an improvement to real property." In addition, various general stat- utes apply to activities falling outside of the specific statutes. This article addresses three ac- tivities routinely undertaken by design professionals, all of which can invoke different stat- utes of limitations: 1) design and planning of a new facility; 2) additions, remodelling or re- pairs; and 3) general consulting, testing and inspection services, or contract administration.
The most common service performed by architects is the design and planning of a new im- provement to real property. Florida courts define an im- provement as "a valuable addi- tion made to property (usually real estate) or an amelioration in its condition, amounting to
FLOR11).Vc:ARIHHE/\N.\RCIIITECT Spring 1997
more than mere repairs or re- placement of waste, costing la- bor or capital, and intended to enhance its value, beauty or util- ity or to adapt it for new or fur- ther puiposes." Under Florida law, an improvement which falls within the above definition, in- cluding additions to existing fa- cilities, is governed by the four-year statute.
Remodels or repairs may fall within the definition of an im- provement where it is demon- strated that the services enhance the "value, beauty or utility" of the existing facility or a remodel adapts the facility to a new use. If, however, the defi- nition of an improvement is not satisfied, a five-year statute of limitations governing contract actions may apply.
The third category of ser- vices— general consulting, testing and inspection services, or contract administration — ar- guably is governed by the two-year professional malprac- tice statute of limitations. For example, where an architect is retained to inspect a finalized construction project in which he or she had no prior involvement, it is likely that an action alleg- ing negligent inspection would be brought under this statute since the architect made no im- provements to real property. It would also likely govern an ac- tion arising from a design professional's delay in adminis- trating an agreement between an owner and a contractor.
Although this discussion may appear somewhat of an ex- ercise in legal minutiae, the pre- vailing confusion can spawn undue litigation, with savvy plaintiff counsel attempting to obtain a longer limitations pe- riod (i.e., a longer open window of liability) or defense counsel seeking the converse. It is pos- sible, however, to circumvent this confusion through intelli- gent contracting decisions.
Potential Solutions. Many practitioners employing the standard AIA contracts or their own versions overlook that par- ties to a contract may choose, among other things, the appli- cable law. For example, while the standard AIA contract pro- vides that the law of the state where the project is located ap- plies, parties may instead specify the applicability of another state's law, so long as that state has a reasonable relationship to the transaction. Since there is no uniformity among states with regard to statutes of limitations, the obvious advantage is the op- portunity to apply a more favor- able statute. (AIA publishes a compendium of the statutes of limitations of all states.)
Unlike the paternalistic posi- tion adopted by Florida, some states also pennit more freedom of contract by allowing parties to agree on the time period during which any legal action must be instituted. While Florida law dis- allows parties shortening limita-
tion periods in their contracts, Florida courts applying the con- tractually specified law of an- other state will follow the parties' dictate on a shorter stat- ute of limitations. The advantage of "shopping" for more favorable law is axiomatic: A design pro- fessional may be able to shorten the period of potential liability from four years to one year.
Design professionals pro- vided an opportimity to apply the law of another forum to their transaction should seriously consider the pros and cons of such a selection. Even though another state may have a more favorable limitations period, other aspects of its law may not be so advantageous. It is neces- sary to be aware, though, that Florida law has an extremely fa- vorable period of limitations /o?- claimants.
Absent the ability to apply a more favorable law, design pro- fessionals should still consider modifying every contract gov- erned by Florida law to specify
the applicability of the two-year design professional malpractice statute of limitations. Although a court likely will not follow this dictate on a matter clearly gov- erned by a longer period of limi- tation, it may carry some weight in a close call. Again, keep in mind that which statutes govern certain activities may not be well defined. Courts that value the principle of freedom of contract may defer to the parties' reason- able choice of law. Perhaps most important, the law is dynamic, and courts continually revisit is- sues where there is far less con- fusion than here.
Robert Alfert, Jr., practiced architecture before taking up the law. He is a trial attorney at the Orlando office of Broad and Cassel, specializing in comjner- cial litigation with an empha- sis on construction law. An expanded version of this article containing all underlying legal citations and authorities is available from the author. ♦
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INDEX TO ADVERTISERS
Buyers' Guide
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36-35
24
Architectural Photography
Chroma, Inc 22
Architectural Rendering
Genesis Studios, Inc OBC
Artificial Thatched Roofs
Tiopic Top/Symbold 2, 20
Blueprinting
Reprographia 5
Building Products
Aluminum Services, Inc 26
CADD
Graphisoft 9
Intergraph Corp 21
CADD Training
Digital Drafting Systems, Inc 24
Claims Control
Associated Cost Engineers 20
Computer Aided Design & Drafting/ Hardware
Digital Drafting Systems, Inc 24
Computer Aided Design & Drafting/ Software
Digital Drafting Systems, Inc 24
Intergraph Corp 21
Computer Application - CAD System
Graphisoft 9
Construction Claims
Project Development International, Inc 27
Construction Management
Project Development International, Inc 27
FLORID/VCARIBBEAN .\RCHITECT Spring 1997
INDEX TO ADVERTISERS
Buyers' Guide
Continuing Education
Durwood Publishers 24
Tnis Joist MacMillan 2
Cost Estimating
Associated Cost Engineers
Design Software
Intergraph Corp
.20
.21
Doors & Windows
Rici<etson Sash &
Door Company 2
Window Classics Corp 24
Drafting Supplies
Intergraph Corp
.21
Education
C.W. Maryland & Co.
28
Employment Opportunities
Walt Disney Casting 9
|
Energy Technology |
|
|
Florida Natural Gas |
IFC |
|
Engineered Lumber |
|
|
Trus Joist MacMillan |
2 |
|
Glass Blocks |
|
|
Glass Masonrv |
20 |
|
HVAC |
|
|
Florida Natural Gas |
IFC |
|
insurance |
|
|
AIA Trust |
25 |
|
CoUinsworth, Alter, Nielson, |
|
|
Fowler & Dowling, Inc |
20 |
|
Florida Liability Assurance |
|
|
Group, Inc |
9 |
|
Sedgwick of Florida, Inc |
23 |
|
Seitlin & Company Insurance |
IBC |
|
Suncoast Insurance |
|
|
Associates, Inc |
IBC |
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FLOiyDA/CAmBBE/\N .\RCHITECT Spring 1997
26
INDEX TO ADVERTISERS
Buyers' Guide
Marvin - Windows & Doors
Window Classics Corp 24
Natural Gas
Florida Natural Gas .
.IFC
Photography - Interior Design
Chroma, Inc 22
Professional Liability
CoUinsworth, Alter, Nielson,
Prowler & Dowling, Inc 20
Florida Liability Assurance
Group, Inc 9
Sedgwick of Florida, Inc 23
Seitlin & Company Insurance IBC
Suncoast Insurance Associates, Inc IBC
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Project Scheduling
Associated Cost Engineers 20
RaUs
Prime Unlimited Inc 7
Reprographics
Reprographia 5
Risk Management
Sedgwick of Florida, Inc 23
Roof - llle
Masterpiece Tile Company 21
Roofs/Artificial Thatch
Tropic Top/Symbold 2, 20
Spiral Stairways
American Ornamental Corp 25
Stairways
Prime Unlimited Inc 7
Waterfalls/Ponds & Rock Formations
Tropic Top/Symbold 2, 20
Windows & Doors
Ricketson Sash &
Door Company 2
Window Classics Corp 24
Wood Windows & Doors
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Support the advertisers who made this publication possible.
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36-11
26
FLORIO/VC.XRIBBEAN ARCHITECT Spring 1997
ALPHABETICAL INDEX TO ADVERTISERS
AIA Trust 25
Aluminum Services, Inc 26
American Ornamental Corp 25
Associated Cost Engineers 20
Chroma, Inc 22
CoUinsworth, Alter, Nielson,
Fowler & Dowling, Inc 20
C.W. Maryland & Co 28
Digital Drafting Systems, Inc 24
Dui-wood Publishers 24
Florida Liability Assurance
Group, Inc 9
Florida Natural Gas IFC
Genesis Studios, Inc OBC
Glass Masonry 20
Graphisoft 9
Intergraph Corp 21
Masterpiece Tile Company 21
Prime Unlimited Inc 7
Project Development
International, Inc 27
Reprographia 5
Ricketson Sash & Door Company 2
Sedgwick of Florida, Inc 23
Seitlin & Company Insurcmce IBC
Suncoast Insurance
Associates, Inc IBC
Tropic Top/Symbold 2, 20
Trus Joist MacMillan 2
Walt Disney Casting 9
Window Classics Corp 24
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Architectural Certification State of Florida 20 Contact Hours Continuing Education
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28
FI.ORID.VCARIBBE.XN .XRCIMTKCT Spring 1997
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About
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At the Core of Professional Practice:
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A Risk Monagement Workshop for Architects
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Policies are underwritten by Security Insurance Company of Hartford. Design Professionals Insurance Company and The Connecticut Indemnity Company rated A (Excellent) by A.M. Best Company TTie issuing company vanes by state. DPIC is the professional liability specialist of the Orion Capital Companies, wholly owned by the Orion Capital Corporation, a NYSE listed corporation with assets of over $3 billion. © 1997 DPIC Companies, Inc
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Southeast Florida DPIC agency:
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Diffeieni by Dc'sij;ii^
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ALL AN Expert
Confused About
w
Professiono Liability
DPIC'S AGENCY REPRESENTATIVES UNDERSTAND
YOUR BUSINESS. THEY'LL HELP YOU MANAGE
YOUR RISKS, PREVENT LOSSES AND REWARD
YOU AT THE SAME TIME. PUT THEIR KNOWLEDGE
AND PERSONAL SERVICE TO WORK FOR YOU
[1]
Contract review and business practice advice from spec- ialists who can help you reduce and even avoid risks
[2]
Loss prevention and risk management programs that can help you earn up to 35% in premium credits...and qualify for continuing education credits
[3]
Early reporting system that saves you time and money without touching your deduct- ible or policy limit
[4]
Deductible savings — up to $12,500 — for using mediation to resolve disputes
[5]
Reimbursement program for Organizational Peer Reviews
[6]
Tailored covemge to meet your needs
North & Central FLorido DPIC agency:
Suncoast Insurance Associates, Inc.
PO. Box 22668 Tampa, FL 33609-2668 800.741.8889
Southeast Florida DPIC agency:
Seitlin & Company Insurance
PO. Box 025220 Miami, FL 331 02-5220 305.591.0090
At the Core of Professional Practice:
Negotiating Sfc/7/s
A Risk Management Workshop for Architects
12AIA/CESLUS
July 15, 1997 -Orlando
Julyl6, 1997 -Ft. Lauderdale
To register, coll 800.227.4284, ext. 337
Policies are iinilerwricien by Security Insurance Company of Hanlord. Design Professionals Insurance Company and The Coniicclicul Imiemnuy I ompany. caled A ( txcellenll by A.M. Best Company. The issumg company varies by stale. DPIC is the professional liability specialist of the Orion Capital Companies, wholly owned by the Orion Capital Corporation, a NYSE listed corporation with assets of over %} billion. © 1997 DPIC Companies, Inc.
Diffeienl h\ Design^
CONTENTS
GREEN BY DESIGN
Summer 1997 Vol. 44. No. 2
Cover:
Orange Coimty Landfill Operations Center, Orlando Photograph: Kevin Haas
Features
Conserving Structures, Preserving Resources
Dan McGalicy, AlA, describes how opportunities for monetary as well as environmental "savings" presented themselves to Gora/McGahey Associates in creating a library from an outdated bank center.
High Visibility for Low Impact Waste Management
Brilliant coloring draws attention to Architects Design Group's myriad practical ideas for Orange County's model Landfill Operations Center.
Recycling Gives New Life to Old Structure
Anthony Abbate AIA employed inc.rpensive and recycled 7naterials in making this 1930s Hallandale bungalow larger, lighter, more comfortable, and affordable for the 1990s.
10
12
New University Sets an Example 14
Janet Schwartz writes that a team of architects, led, by Pierce Goodwin Alexander & Linville, worked to make Florida Gulf Coast University a paradigm of sustainable design.
Capturing the Essence of a Rain Forest 18
Connections between the natural and built environments enhance the experience of visitors to El Portal del Yunque, Sierra Cardona Ferrer's education center in the Carribean National Forest.
Departments
Editorial
News Viewpoint
by Daniel Williams, AIA
Viewpoint
by Cooper Abbott
Index to Advertisers
5
6
21
24
25
H,( )l<]l),V(:AKl[!BEi\N ARCHITECT Summer 1997
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H.( )Rll),V('..\RIBliKAN .VRCIllTKCT Summer 1997
EDITORIAL
FLORIDA/CARIBBEAN ARCHITECT
Florida Association of the American Institute of Architects
104 East Jefferson Street Tallahassee, Florida 32301
Editorial Board
John Totty, AIA, Chairman John Howey, FAIA Karl Thome, AIA
President
John R. Cochran, Jr,
a;
AIA
Vice President^resident-elect
Roy Knight, FAIA
SecretarynVeasurer
Vivian Salaga, AIA
Past President
WiUiam Blizzard, AIA
Senior Regional Director
Henry C. Alexander, Jr., AIA Coral Gables
Regional Director
John P. Tice, Jr., AIA Pensacola
Vice President for Professional Excellence
Ivan Johnson, AIA
Vice President for Political Effectiveness
Debra Liipton, AIA
Vice President for Communications
Keith Bailey, AIA
Executive Vice President
George A. AUen, CAE, Hon. AIA
Editor
Margaret Barlow
Published by
Dawson Publications, hic. 2236 Greenspriiig Drive Timoniuni, Maryland 21093 (410) 560-5600 (800) 322-3448 Fax: (410) 560-5601
Publisher
Denise Rolph
Sales Manager
Dave Patrick
Layout & Design
Amy King
FloridaJCai-ibbean Arrhilecf, Official .Journal of the Florida Association of tiie American Institute of Architects, Is owned by the Association, a Florida Corporation, not for profit. ISSN-OOlfv 3907. It is published four times a year and distributed through Ihe Executive Office of the AssocialioM, 1(H KiLsl .lefferson St., Tallahassee. Florida ■.U.«)\ Telephone 904/222-7590. Opinions expressed by contributors are not necessarily those of AIA Florida. Editorial material may be reprinted only with tile express pemiission oi FtoridaJCaribbean Architect. Single copies. $6.00; annual subscription, $20.33. Third class postage
this moment in time, Floridians appear to be severely divided concerning the environment. On the one hand are those for whom economic gain outweighs any environmental protection or preser- vation considerations. On the other are those trying to protect our paradise of a state from further contamination and disintegration.
It appears that a number of architects in our region are standing firmly in the second group. Sustainability, which has been defined as "develop- ment that meets the needs of today without compromising the ability of future generatioits to meet their needs," is on their minds and is being reflected in their work. Miami architect Dan Williams, who chairs AIA Florida's Committee on Environment and Energy, talks about the need to create communities that "will sustain all creatures as well as all resources." Cautioning that Florida is heading toward future problems because of development that is destroy- ing and wasting resources, he asks, "How do we design to maximize their use?"
Featured in this issue are several projects that do maxintize resources, whether through the use of recycled materials or energy-saving systems. They run the gamut, too: recycled buildings and new constniction, small and large, urban and nir£il, set in a landfill and a rain forest.
If, as Williams contends, "virtually every existing building needs major design work to make it function energetically and efficiently for the next millennium," two of the projects may serve as examples. The smallest is a remodeled 1930s bmigalow for which architect Anthony Abbate, AIA, appropriated a variety of "pre-used" materials. For the second, a dark banking center turned into a bright regional library, Dan McGaihey, AIA describes how recycling and energy-saving applications enhanced his adaptive reuse. (Perhaps because librarians are used to tight budgets, library projects often seem to present a creative challenge to architects.)
We are delighted to share with readers our first look at Florida's newest state univer- sity. From its wetlands site to its thermal storage and programmable maintenance systems, author Jan Schwartz describes Florida Gulf Coast llniversity as "a model of sustainable design, energy conservation, and respect for the environment."
Color and light are more than a facade at Architects Design Group's Landfill Opera- tions Center This exemplary work place, meant to harmonize with a variety of natural systems including high water table, serves envirormiental concerns in every aspect of its function and operation.
Tropical architecture offers unique possibilities, writes environmental planner/de- signer Cooper Abbott, for "a blending of interior and exterior space, a fluidity of interior volumes, [and] an openness to the surrounding landscape." A dramatic illustration is Sierra Cardona Ferrer's rain forest education center, designed to respect its fragile habi- tat. Here natural elements of the tropical forest unite with manniade fomis and materials to impart the spirit as well as the science of this natureil phenomenon.
Architects, planners, and others can hark back to one man, Thomas Jefferson, con- sidered a model of many professions, who wrote:
The earth belongs to the living. No man may by natural right oblige the lands he oums or occupies, or those that succeed him in tliat occupation, to debts greater tiian those that may be paid during his own lifetime. Because if he could, then the world ivould belong to the dead and not to the living.
Jefferson's words, recalled for us by Dan Williams, offer a challenge for sustainabUity that stands as well in our day as in his. MB
Florida/Caribbean Aivtiitect serves the profession by providing current information on design, practice management, technology, enviromiient, energy, preseivation and development of communities, construction, fmance, economics, as well as other political, social, and cultural issues that impact the field.
FLORIDvVCARIBBE/\N ARCHITECT Summer 1997
NEWS
Btj Jim Bleijcr
Florida ADA Law And Design/Build Modified by Legislature
Horida legislators finished their 1997 regular session on time this month, but not before pass- ing mtyor revisions to the state's accessibility laws and modifying its guidelines for local agencies to select design/build entities.
AIA Florida was at the fore- front on both issues, and members of the PoUtical Effec- tiveness Management Team, under the leadership of Vice President Debra Lupton of Or- lando, provided continuous input to the statutory changes during the legislative session. Executive Vice President George Allen, and Legislative Consult- eints Mike Huey, Chris Hansen, and Andy Bertron coordinated the profession's lobbying efforts.
State Senator Charlie Clary, AIA, of Destin, was very helpful to AIA Florida in his freshman session. Senate President Toni Jennings designated Senator Clary as the point person for matters dealing with educa- tional facilities. He proved to be effective in situations where proposals and amendments were offered which would have dam- aged design professional selection procedures, or when the voice of reality was needed on other proposed construction techniques.
Codes and Standards Chair Larry Schneider provided a great deal of the expertise in language that was used in the revisions to Florida's accessibility law, wliich were passed in HB 1707. Legis- lators passed revisions to standards relating to the vertical accessibility requirements, mov- ing Florida closer to Federal ADA guidelines; modified the rest room provisions, again mov- ing them to ADAAG; and delayed effective dates of the more strin- gent parking requirements regarding slopes and curb cuts that had been approved last year. (Copy of HB 1707 is available
through the AIA Florida FAX ON DEMAND program.)
Modification of the state's guidelines for local public agen- cies to use in selecting design/ build entities was souglit by the Haskell Corporation of Jackson- ville and a coalition of local government facility managers. The bill, SB 1860, proposed that selections be based solely on qualifications rather than the cur- rent two-step process in which a criteria package is first developed and then entities provide qualifi- cations, solutions and prices in order to compete for the project.
AIA Florida took a strong in- terest in the legislation and proposed amendments to require that local agencies utilize the ser- vices of a licensed design professional appropriate to the project during the course of the selection process and during the subsequent design and construc- tion activity once the design/biuld entity was selected. This recom- mendation first met with opposition from the League of Cities and the County Commis- sioners Association, but after several meetings, language ac- ceptable to AIA was approved and the bill passed on the last day of the session.
Another issue in which AIA Florida was strongly involved was a provision to re-enforce the ex- emption aiclutects and engineers have in the regulatory statute for licensing building officials. AIA Florida, in association with the Florida Engineering Society, supported and convinced the House to approve amendments to each professional practice act wliich spelled out theu" exemption ft'om the building official licens- ing requirement. However, the provisions were included in an omnibus bill wliich was left on the Senate consent calendar LIntil tills matter is rectified, arcliitects are being advised that they should not provide building inspection services for building depaitments unless they also have a license from the Board of Building Code Administrators and Inspectors.
Court: Title III Covers Architects
The U. S. District Court for Florida's Southern District re- cently held that the American Disabilities Act (ADA) covers ar- cliitects. The decision contradicts a 1996 ruling in a Washington, D.C. district court that architects are not covered by ADA.
Two minors sued Huizenga Holdings, EUerbe Becket Aichi- tects, Browaid County, and the City of Smirise, maintaining that a hockey aiena imder constiTJC- tion for the Florida Panthers hockey tesmi does not meet ADA requirements. Although the deci- sion did not describe the alleged violations, a letter ftom Thomas Contois, a U. S. Department of Justice attorney, to attorneys for Huizenga stated tlie case involved a dispute about sight lines and whether or not wheelchair users would be able to see the ice when spectators in front of them stood.
The court rejected Ellerbe Becket's argiuiient that, based on ADA'S plain language, architects are not covered. "If architects are not liable luider the ADA, then it is conceivable that no entity would be liable for construction of a new commercial facility which violates the ADA," the court stated. The Department of Justice said it was not challeng- ing whether or not the arena was in compliance. Its participation was only on the question of the architect's liability.
Celebration Observes Architectural Heritage of Puerto Rico
Tlie Aicliitectiire and Construc- tion Archives of the University of Puerto Rico (AACUPR) celebrated its tenth ajiniversary in February with week-long activities com- memorating the contributions of tlnee architects to the practice, education, and publication of architecture.
The honorees were Miguel Ferter, FAIA, of the firm Toro y
Ferrer; Jesus Amaral, FAIA, first director of the School of Architec- ture at the University of Puerto Rico; and Efrain Perez-Chanis, editor of the arcliitectural journal Urhe. A decade ago, Dn Enrique Vivoni-Farage, a faculty member at the LIniversity of Puerto Rico's School of Architecture, foimded AACLIPR, an organization that would rescue, preserve, enrich, and promote Puerto Rican architectural values. Lip to diat time, all of tlie island's rich arcliitectural docimien- tary heritage had been in private hands, making the task of histori- ans and researchers difficult.
Today, after intense labor, AACUPR owns more than 70 collections of the works of archi- tects such as Pedro A De Castro, Antonin Nechodoma, Rafael Cannoega, Toro y Ferrer, Henry Klumb, and Amaral y Morales. The archives also preserve collections of particular buildings such as tlie Capitol, El Falensterio, and institu- tions or corporations such as the sugar miUs at Aguirre, Guanica, and Fajardo, and the LIniversity of Rierto Rico. AIA Puerto Rico has been helping in tliis endeavor since 1988, when it deposited the docu- ments of the island's premiere Art Deco arcliitect, Pedio Mendez, in AACUPR's custody
Tlie celebrations began witli two lectures by renovmed Colom- bian architectural historian Dr. SOvia Arango, from the National LIniversity of Colombia at Bogota. Both lectures were cosponsored by AIA Puerto Rico. Tlie first fo- cused on the design of Latin American university campuses; the second presented the work of Henry Klumb in the design of the Student Service Building at the LIniversity of Puerto Rico.
A charette was held at the School of Architectiu-e concern- ing the recent proposal for a master plan by the Boston-based finii of Comunitas. Tliree groups of students from the School of Ar- chitecture at the University of Puerto Rico and one group from the Polyteclmic LIniversity partici- pated in a review of tiie proposed plan. Conclusions were presented
FL0RIIWC:AR]BBE/\N AR( :II1TECT Summer 1997
to tlie chancellor of the University of Puerto Rico.
Culminating the week was the first Seminar on the Conservation of Twentieth Centuiy Architec- tiue. Guest speakers included Dr Arango and Gustavo More, archi- tect, publisher, and head of the Dominican Republic's chapter of Documentation and Conservation of the ArcWtectme of the Modem Movement. The events were held in the majestic surroundings of Puerto Rico's Capitol and the nearby former YMCA building.
Interactive Software Program Offers Success Strategies
The American Institute of Ar- chitects has annomiced that an interactive learning program, "Success Strategies for Design Professionals," is now available to members. Published on CD-ROM, tlie program includes strategies for successful negotiations, ideas for improving the scope and qual- ity of service, tips on managing the small project, and improved time management.
Tlie program meets all State Registration Board and AlA Guidelines for continuing educa- tion while allowing practitionere to leam at their own pace and in a setting of their choosing. Tlie product also includes a special presentation of strategies for fi- nancial awareness and practices with the design firm. "Special Strategies for Design Profession- als" can also be used as a reference manual and a teaching tool for in-firm learning programs.
For further infonnation, con- tact Fathom Digital Media Design at 631 2nd Ave. South, Suite 100, NashviUe, TN 37210; (615) 244-0101.
Professional Cooperation Urged on International Level
Cooperation among architects from different countries has been
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Eglin AFB Beach Recreation Facility
EUiott MarshaU Iiines, P. A. of IWlahassee, was the only recipient of a Conceptual Design Award in the U. S. Air Force's Design Excellence Progimn. The design, chosen Irom entries submitted by U. S. air force bases worldwide, is for the Eglin AFB Beach Recreation Facility.
urged by the president of the Trinidad and Tobago Institute of Architects (TTLA) in the wake of an ail-port design controversy involving a Florida fimv Criticism centered around the design package, prepared by Birk HiUman Consultants, hic, for Trinidad's Piarco Airport extension.
In a letter to AIA Florida, Geoffrey MacLean, TTLA presi- dent, said his country's Joint Consultant CouncU for the Con- struction Industry felt that local architectural consultants were ex- cluded from participation by Birk Hillman, who were to provide project management and archi- tectural services. The group's membership includes architects, engineers, contractors, quantity siuveyors, appraisers, emd real estate agents.
A national inquiry recom- mended the cancellation of two portions of the airport contract, including that involving Birk Hillman, according to MacLean 's letter When local concerns were expressed at the project's outset, a Birk Hillman representative seemed sympathetic but no con- crete steps were taken to remedy the situation, MacLean wrote.
A company working in anotlier country should take into account local practice and aesthetics, MacLean explained, adding tliat co- operation among professionals should be paramount.
Metal Construction Association Announces Architecture Awards
Architects are invited to partici- pate in submitting outstanding examples of their work in the use of metal in construction in the 11th Annual Metal Construction Associa- tion (MCA) Merit Awards FVogram. Projects must liave been completed since January 1, 1996.
Entry categories include com- mercial, industrial, institutional, residential, and historic restora- tion/preservation. Submittal deadline is July 15, 1997, and each submission must be accompanied by a $75 fee. Entries will be judged by a jury of five registered arclu- tects. Apphcation forms outlining the MCA Merit Awards rules and procedmes are available by writ- ing to: 1997 MCA Merit Awards Program, 11 S. LaSalle St., Suite 1400, Chicago, IL. 60603-1210, or calling (312) 201-0193.
Of Note
Tlie President's Conunittee on the Arts and the Humanities se- lected images of tlie Church of tlie Epiphany, designed by the finn of Spillis Candela & Partners, Inc., Miami, to appear on the cover of its Creathv America re- port. Tlie document is aimed at promoting creativity and increas-
ing public appreciation of the arts and humanities. Tlie cover oi Cre- ative America depicts a high-tech computer rendering of the intri- cate latticework of wood and steel that comprise the Church of the Epiphany ceiling. The project won a computer delineation de- sign award from Archilecturnl Record magazine and Ihibuilt Design awards from the Miami chapter of the AIA and AIA Florida HUario Candela, presi- dent of Spillis Candela, served on die President's Committee for three years. He said the goal of the project was to create a church design clas- sical in spirit and, at tlie same time, open and tropical enougli for its South Florida setting.
SGA Architects, Inc., Palm Beach, has been honored with a "Best in American Living" Merit Award for design of The Creekside model home in Mira Lago at Bonita Bay Tlie 2,798-sq. ft. luxury villa has cafe au lait stucco walls, white trim, and a terra cotta toned Spanish-style tile roof. There is an extraordinary golf coirrse vista ftoni the kitchen and family room of the 3-bed- roorii, 3-bath villa. SGA president Spencer Goliger accepted the award from the National Associa- tion of Home Builders at its January convention in Houston.
The Hillsborough County City-County Planning Commis- sion gave an Award of Excellence to FleishmanGarcia, Tampa, for the design of the Tampa Firefighters and Police Officers Pension F^md Building. Tlie bim- galow style structure was designed to be in context with the surroimding residential neighbor- hood. FleishmanGarcia also annoimced the luring of RusseU L. Garcia as Project Manager/ Construction Administrator
VOA Associates Incorpo- rated designed ten gallery spaces at the Orlando Museimi of Art for the Imperial Tombs of Cliina ex- hibition, which runs May 2 through September 14. VOA pro- vided their services, in pari, as a conuiiunity service to support the arts in Orlando.
FLORiavCARIBBE/VN ,\R( :IIITE( :T Summer r997
Conserving Structures, Preserving Resources
By Dan McGahcy, AIA
Regional Library Lee County, Florida Gora/McGahey Associates in Architecture
While reusing and remodel- ing are not unusual in residential architecture, the idea of recycling a commercial stnicture is less common. As long as land was inexpensive and the regulatory environment somewhat relaxed, it was easier to build from the groimd up than to work within the coixflnes of an existing building.
In Southwest Florida and many other places, that picture is changing. Increasing land costs and a plethora of local, state, and federal regulations have made new constmction more expensive than ever. So it is not surprising that reusing existing facilities is gaining popularity.
Adaptive reuse is more than simple remodeling; in its purest form it involves actual recycling of a facility. A recent example of this process can be seen in a decommissioned banking operations center which was purchased by Lee
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Removal of original precast panels to make way for enclosed reading pods added colur and interest to the exterior while expanding interior spaces. Photograph: Bruce Gora
County to be used as a regional library.
Since this was a reuse, as many of the existing materials as possible were rehabilitated. The original building was a squat rectangular structure, with heavy precast concrete panel walls, few windows, and little daylight. Several panels removed to make way for
glass-covered reading pods were reused to form a screen wall between the front entry and service yard.
A number of opportimities for savings — immediate and long-term as well as monetary and environmental — presented themselves. Some 35 existing doors were stripped and revaniished (about $100 each
instead of $300-$400 for new replacements). Plmnbing fixtures were cleaned up, refitted, and reused, and partition walls in the bath- rooms were replaced with recycled plastic components. Of course not all existing materials could be reused. Some were dantaged during demoUtion, others were simply
A hrij/lilly colored space frante idciilifies the front entry. Shadoirs play across Ihc parity covered/ partly open sidewalk. Photograph: Bruce Gora
Tlie original building was a
squat rectangular structure
with precast panel walls, feiv
windows, and little daylight.
Photograph: Bruce Gora
¥U )Rin,VCARIBBE.\N ARtlHITECT Summer 1997
outdated. But where materials could not be rehabilitated, niEuiy were recycled. Metal studs removed during demoli- tion were recycled, along with electrical wire, glass, aluminum window frames, steel door fraiues, ductwork and pipes. Twelve extra-large dumpster loads of materials were taken for recycling, saving $6,000 in dump fees alone.
Keeping maintenance and operational costs down is an important consideration in public buildings. The perimeter of the wall received new insulation and a vapor barrier. Old air-conditioning units were recycled and a new ice thennal storage system was installed. This state-of-the-art air conditioning system not only is effective in removing water vapor from the moisture- sensitive library but is reducing operating costs by $15,000 annually. Retrofitting fluores- cent lights with high-efficiency electronic lamps and ballasts added another $8,000 in expected savings. These energy conservation efforts were rewarded with $55,000 in credits and rebates from the local power company.
A great deal of thought and effort also went into the design process. Marking the front entry is a brightly colored space frame, areas of which are covered to shade the sidewalk while other portions are left open, allowing the sim to play shadows across the pavement. Landscaping helps provide natural shade for the building, again reducing operating costs. Inside, a system of "streets" defines stack areas, with skylights bringing in additional light at each "intersection."
The entry screen wall is embellished with sandblasted images of footprints and palm fronds on the "Path to Knowl- edge" by artist Jan Marmarelli. A stainless steel egret standing among Corten steel cattails designed by project architect
Seating niches help define spaces. Photograph: Bruce Gora
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SCULPTURE &ARDEN ^S^ .^i^ULUUKh-
Rob Andrys and executed by Michael Guthrie further reinforces the juxtaposition of the built environment with its natural surroundings.
Recycling old buildings is not a new idea. But in this era of increased regulation and environmental concern, the process of reusing rather than razing and rebuilding from the ground up preserves resources and makes good sense. ♦
Architect: Gora McGahey Associates in Architecture Principal in charge: Dan McGahey, AIA Landscape Architect: David M. Jones & Associates Structural Engineer: Jenkins and Charland Civil Engineer: Source, Inc.
Mechanical/Electrical Engineer: Wadsworth Engineering General Contractor: Compass Construction, Inc. Owner: Lee County, Florida
m
FLORIDA/CARIBBE.VN/VRCIIITECT Summer 1997
High Visibility for Low Impact Waste Management
Orange County Landfill Operations Center Orlando, Florida Architects Design Group, Inc.
Tliis landfill demonstration site could become a poster image for sustainable design. From its brilliant coloring to its location in an environmentally sensitive site, its practical ideas embody a philosophy that deserves attention.
Fimded by Orange County Public Utilities in association with E.P.A., this unique facility supports the operations of a landfill demonstration site. Designed for the study of alternate operating teclmiques in areas of high water table, the new facility sits in an area of indigenous uplands pine flatwoods bordered by wetlands that buffer the site from nearby residential development.
Most significant, perhaps, is the sponsors' acknowledgement of waste management as a critical societal issue. And by tmiiing to new technologies to protect tlie local ecology, ADG architects demonstrated the importance of looking ahead to solve growing problems.
The center accommodates numerous functions, including administration, training, and supply and vehicle maintenance. Issues of circulation, natural light, security, and the creation of open-space work areas established principal criteria used in planning.
From the outset, the design team had as its go£il to follow the prenuses of sustainable architecture, which they defined as "arcliitecture that sustains human utilization Euid habitation for a variety of fiuictions and uses with a minimal impact on the environment, that uses recycled and recyclable materials, tliat is energy-efflcient, and that incorporates materials
Administrative work area features exposed stnicture, bright colors, tasly- ambient lighting, a reflective roof deck, and ergonomically correct ivork stations. Photograph: Kevin Haas.
10
FLOR]DA/CARIBBE,\N ARCHITECT Summer 1997
Curving maintenance entry site wall "floats" in a reflect ive pond and separates passenger vehicles from maintenance equipment. Varying mass, color, and height create a dynam,ic entry experience. Photograph: Kevin Haas.
that have a useful life of one hiuidred years or more."
Using these guidelines, the team researched systems as well as materials that would serve their goal. A stnictiu-al steel frame encloses this 52,000 sf slab-on- grade stnicture with spread footing. Flat insulated and corrugated steel panel walls sustain a single-ply membrane roof system. Both siding and structural elements aie fuUy recyclable. ISven exterior planting areas reuse mulched tires.
On the interior, above a combination of gyijsmn board and metal panel CMU partitions, ceiling construction is exposed. Resilient flooring throughout is made from flaxseed plants and linseed oU. Ceramic tile, furniture, fabrics, and uphol- stery are manufactured from various recycled materials.
A state-of-the-art HVAC system gets liigh energy- efficiency ratings. The vehicle wash operation uses recycled water, which is cleaned and filtered on-site. Indirect lighting
differs in each fimctional area — for example, a task/ambient system for administrative areas, fluorescent parabolic down- lighting with multiple switching capacity for operations areas, metal-halide combined with dayUghting for maintenance areas, and dramatic accent lighting for the exterior.
It is obvious to even the most casual observer that color played an important role in the total design concept. In over 20 years of research on color, ADG
(which has used similai' vibrant color schemes in projects Uke the Florida Solai" Energy Center) has learned a thing or two about how color can respond to natural siuroundings and affect the work environment.
Here the palette actually reflects the immediate environ- ment; thus green is the primary building skin. Accents of blue, red, and yellow, seen in bales of recycled waste materials at the landfill, are used to define specific functional elements. ♦
//( maintenance area, flat panel and corrugated metal wall colors and detailing define bays. Photograph: Kevin Haas.
Architect!
Architects Design Group, Inc. Principals in charge:
l.S.K. Reeves V, AIA, Kevin Ratigan, AIA
Design Team: Kevin Ratigan, AIA, Steve Langston, AIA
Landscape Architect: Bellamo-Herbert & Company, Inc.
Structural Engineer:
Paul J. Ford & Company Civil Engineer:
Brindley Pieters &
Associates Inc. Mechanical/Electrical Engineer:
I.M.D.C. General Contractor:
G.H. Johnson Ecological Consultant:
Lotspeich &
Associates, Inc. Owner:
Orange County
FLOIUDA/CARlBBE,\N ARCIIITKCT Summer 1997
11
Recycling Gives New Life to Old Structure
Sternberg Residence Hallandale, Florida Anthony Abbate AIA
It took a little extra thought aiid effort, but this remodeled 1930s bungalow is larger and ligliter, more conifortable, and just as affordable in the 1990s. A surprising array of inexjDensive and recycled materials helped make the difference.
Built in 1938, the house is located on a comer lot, just a block from a major commer- cial street. The client, an artist, proposed three design chal- lenges for architect Anthony Abbate: First was to utilize an extensive south side yard that was blocked by the garage and not accessible from the house. Second was to open the living, dining, and kitchen areas into a single space. Thud was to adhere to a budget of $30,000 for design, construction, and contingencies.
Working closely toward their common goal, the owner, contractor, and architect succeeded in saving money and energy. Recycled materials — a combination of new and vintage components — contrib- uted to the energy efficiency and charm that earned this a 1993 Fort Lauderdale AIA Chapter design award.
The eastern eight feet of the garage were turned into a master bath, which comiects to a private garden created from the side yard. A pine deck begins in the shower and continues into the garden to fonn a long trapezoid. Bath and kitchen ai'e finished with maintenance-free, recycled bam siding, recalling Hallandale's former dairy farms. (Other finishes are stucco and plaster.) Even a nearly new sliding glass door was recycled from another remodel.
Old pine, which had been Inventoried by the flooring Installer from a house built
Ncdl iii.HJs cxteriur belies great clianges tvilhni. Phologniph: Anthony Abbate, AIA
12
FLORiaVG.\R]BBE.\N .\RCHITECT Summer 1997
during the same era, was used to refit the floors in the dining and kitchen area. As hick had it, the color and dimensions of the original living room flooring were a perfect match, creating a seamless transition.
Extending from the living area to the kitchen, a perimeter cabinet lines the long wall. An entertainment center at one end, it goes on to conceal a laundry and storage area. Anally encasing the refrigerator and microwave center at the other. This unit and the kitchen cabinets are finished in plywood sealed in nontoxic "Hydrocote."
A kitchen backsplash, opened up to captiu^e light from the adjacent garage, was fitted with glass block panels that originally had flanked the living room fireplace. In their place are glazed doors that open onto a new deck intended for entertaining in the north garden area.
All the windows were replaced with energy efficient units fitted with double-paned insulating glass. AcUustable wide interior louver blinds help control light and heat penetra- tion. Energy-saving fluorescent lighting replaced old fixtures, and a radiant banier was installed in the attic where there had been no insulation. ♦
' Architect:
Anthony Abbate AIA
Principal in charge:
Anthony Abbate, AIA
Landscape Architect:
Peter Stelkow, ASLA
Electrical Consultant:
Glenn C. Blaise
General Contractor:
Carl Perkins, Nu Concepts, Inc.
Owner:
m Lorraine Sternberg ^—
Vintage pine flooring and glass bricks reused in backlit backsplash add warmth and contrast to contemporary lines of siding and stainless appliances in the dining and kitchen area. Photograph: Neat Bredbeck
Beginning in Ihi- slioivrr, ii 4 ,r J iiini' deck (~.' .r if.s were turned on edge) continues outside into private garden. Photograph: Neal Bredbeck
FLOr<]DA/CARIBBE;\N ARCHITECT Summer 1997
13
New University Sets an Example
By Janet Schwartz
Florida Gulf Coast University Ft. Myers, Florida Pierce Goodwin Alexander & Linville; Rosier/ Jones Associates, Inc.; Barany, Schmidt & Weaver; Wallace Roberts & Todd Arch.
Florida Gulf Coast University will open its doors in August. F^om its inception, the newest school in the State University System will be a model of sustainable design, energy conservation, and respect for the environment.
When the architectural design team at Pierce Goodwin Alexander & Linville (PGAL) began the process of creating Florida's tenth university campus out of 760 acres of undeveloped forest land and coastal hammock m Southeast- em Lee County, the goal was twofold.
"We wanted to give FGCU the stature due a significant institution of higher leaiTiing," says PGAL principal Michael Managan, ALA. "At the same time, we wanted to produce a low-maintenance, sustainable design format that would complement, not compromise, the natm-al amenities of the site."
Phase One development includes a nine-building complex totaling 250,000 sf. All buildings are of masonry and concrete construction. Although budgetary restraints precluded use of extensive ornamentation and trim, the campus is not a series of "dark boxes." Materials that are both functional and native to South Florida, and practical design elements drawn from indig- enous styles such as Mediterranean Revival and
Florida Cracker, maximize natural Ught in public areas and give the campus a warm, inviting feeling.
Dark green standing-seam metal roofs that create a "tree canopy" effect are also durable and fire resistant. Exterior finishes are warm gray stucco with brown cast stone trim. To reduce transfer of water vapor, which can corrode inside walls, the stucco was applied to expanded metal lathe that was held off the CMU backup wall to allow a damp-proof coating to the block. Windows and doors are glazed with a green- toned glass and framed in warm gray aluminum. Most of the buildings have covered, arched walkways at ground level that create visual interest while providing protection from the elements. Future plans call for connector walkways to link the buildings. Classroom and student services buildings face the Grand Oval, a large, grassy courtyard.
The three-building Student Services Cluster houses food service, a bookstore, meeting rooms, student administration and admissions, and a wellness center, which meets hurricane shelter guidelines. The Central Academic Mall includes a library and two academic buildings equipped with state- of-the-art communications technology (north-south siting minimizes solar heat), and a lecture hall wired for distance learning. A broadcast facility, designed by Barany, Schmidt & Weaver, will house WGCU-TV and WGCU-FM. PGAL team member Rosier/Jones Associ- ates designed a Family Resource Center and Central Energy Plant, which features a cost-saving thermal storage system and energy-saving programmable lighting, HVAC, and maintenance scheduling.
Natural lighting is used extensively — a broad clere- story in the library floods the hall and reading areas with
light, and open-stair, skylit lobbies visually unite upper and lower floors. Components were selected CEirefuUy: for example translucent Kalwall skylights, which conduct less
heat than traditional clear assemblies.
Since ahuost half the site is jurisdictional wetlands, environmental issues were key planning concerns. To meet U.S.
14
FI.ORiaVCARIBBEiVN .XRCHITECT Summer 1997
I U SU .\lJ.LLLLJi(.H
Dark green standing-seam metal roofing was chosen to create a "tree canopy" effect. Gray stucco exteriors are accented with broini. cast stone wainscots at ground level. Photograph: Gary Knight & Associates Photography.
Army Corps of Engineers and state permitting requirements, it was necessary to restore and re- create wetlands areas, create stomiwater management lakes (which also serve as site
amenities), and remove non- native, invasive trees.
The conceptual master plsui was done by Wallace Roberts & Todd. To implement the plan, PGAL created three lakes and
removed thousands of Melaluca and Brazilian Pepper trees that had invaded the site, choking out indigenous vegetation. Site preparation involved re-creating original
water flows, restoring grassy wetlands, and reintroducing palms, pines, oaks, palmettos, and other indigenous (and low maintenance) species.
Continued on page 16
FLORirWCARlBBE.W ARCHITECT Summer 1997
15
New University
Cuiitinucdfmin page 15.
Phase One includes a nine-building complex totaling 250,000 gross sf, on a 760-acre site that is almost half jurisdictional wetlands. Photograph: Florida Aerial Seivices
The site irrigation system uses water primarily from the created lakes (natural ground- water intrusion and rainwater) instead of from wells, which can deplete the aquifer. (Well water, which also has heavy iron and mineral deposits and
can stain buildings, will be used only occasionally, during very dry periods.)
"In many ways, tliis site is more naturally pristine now than it was before the university was built," says Managan. "We're really proud of that."
FCGU may be the "new kid on the block." But it wants the distinction of being a model of sustainable design, and intends to use the site as an environ- mental laboratory and instruc- tional tool. ♦
Graccjiil iinhcd inilkiniiis of sl/idciil tiuililiiiiis pniriilc iinilcit iini jiom elements. Connector walkways to link buildings are planned. Photograph: Gary Knight & Associates Photography
Principal Architect:
Pierce Goodwin Alexander
& Linville
PGAL Principal in charge:
Michael Managan, AIA
PGAL Project Architect:
Rick Z. Smith, NCARB
Associate Architect:
Rosier Jones & Associates,
Elton Jones, AIA
Architect, Broadcast
Facility:
Barany, Schmidt & Weaver,
Joseph Barany, AIA
Master Plan:
Wallace, Roberts & Todd,
Alyn Pruett, AIA
Landscape Architect:
Kevin L. Erwin Consulting
Ecologist, Inc.
Structural Engineers:
Martinez Kreh & Associates,
lnc.;Tilden Lobnitz Cooper, Inc.
Civil Engineers:
Post Buckley Schuh &
Jernigan
Mechanical/Electrical
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Cooper, Inc.
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Brown & Root Building
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State University System of
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16
FLORID/VlLMyUliE.VN ARinilTECT Summer 1997
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Capturing the Essence of a Rain Forest
El Portal del Yunque Rio Pledras, Puerto Rico Sierra Cardona Ferrer
Each year a million guests visit El Portal del Yunque, gateway to the Caribbean Na- tional Forest. El Yunque is the only tropical forest in the U.S. National Forest System, a zone of extremes whose rugged land climbs from 1,000 to 3,500 feet above sea level and is doused with up to 200 inches of rain each year. Its great divereity of plants and animals contributes gener- ously to the ecological stability of our planet.
El Portal is a imique education center. It is a sanctuary for tour- ists, who come to gain a greater underetanding of this important envirorunent. Located in one of the world's best managed tropical forests, it is also a training center for visiting scientists and forest management professionals, who come to learn the needs and com- plexities of tropical forests and the practices required for their sound management.
The architectural concept of El Portal emphasizes a strong, positive, human-made mark in the natural environment. Instead of quoting from the spontaneous, organic asymmetry of its spec- tacular environs, architects Si- erra Cardona FeiTer looked to the formal tradition of symmetry to formally unite the structure and site. Calling to mind at once a fabricated forest and a sminy ca- thedral, it relies on both fonn and materials to reinforce its contex- tual assimilation.
An elevated wooden pedes- trian bridge leads visitors from the Portalito, an entrance pavil- ion, toward the main structure. Turning sharply, they enter El Portal and start their procession along an axis lined by graceful reinforced concrete columns. Curving stairs lead up to the cen- tral courtyard, from which visi- tors enter the exhibition spaces.
Dominating the central a,ris is a dramatic roof structure that is at times opaque, translucent, perfo- rated, or skeletal. Photograph: Maa: Tore
18
Fl,()RII).V(:ARmBE/\N AKCIIITECT Summer 1997
Sited on a hill, the structure comprises 45,000 sf. on tlvree lev- els. The lower level, shortened where it abuts the earth bcirrier, houses administration, office, and operations areas. Entering on level two, visitors stroll anwng the columns, which refer to the for- est topography visible outside, and then ascend to the courtyard. On level tliree visitors find them- selves close to the roof structure, which feels like a treetop canopy. Acting as the main datiuii of tJie composition along the circulation axis is the skeletal, high-pitched roof — opaque, translucent, or per- forated at various points.
Water is a dynamic element along the peripheiy of the cen- tral courtyard. It flows tiirough cascades that fall into a rock landscape that is formal in some areas, organic in others. These water and rock components exit either side of the structure, lead- ing the water flow into existing natural swales.
Three exhibition pavilions that radiate from the central coiutyard culminate the visitors' travel patli. All tliree sit over rock- clad podiums. Pivot doors along theii' perimeters open completely, providing a total integration with the tropical forest beyond. ♦
Elevated pedestrian bridge exemplifies meeting of natural and bit ill environments. Photograph: Max Toro
Architect: Sierra Cardona Ferrer
Principals in charge: Luis S. Sierra, AIA, Segundo Cardona, AIA
Project Architect: Luis Estevez, AIA
Site Planners & Landscape Architects: Edward D. Stone, Jr, and Associates
Night lighting highlights contrast between natural setti)ig and for- mal elements of the structure. Photograph: Max Toro
Structural Engineer: Jose Espinal Vazquez
Civil Engineer: EBP Design Group
Mechanical Engineer: Jorge Torres-Lopez and Associates
Electrical Engineer: Leonardo VIdal, RE.
General Contractor: Redondo Construction Corp.
Construction Inspection: Diaz & Mayor Corp.
Owner: U.S. Department of Agriculture, Forest Service, Caribbean National Forest, Southern Region
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FI.(iRII);V(:.\RIIiBK.\.\ .XRCIIITKCT Summer 1997
VIEWPOINT
Green by Design
Daniel Williams, AIA
Our society is living beyond its means. We are about to dispossess the earth of capital assets in the space of a few lifetimes through patterns of exploitation. These patterns are devastating the natural environvfient upon tvhich we depend for our long-teivn survival.
Architects for Social Responsibility
If architecture in the 20th cen- tury was about designing a "machine for Hving," then in the 21st century it may be about de- signing "organisms for living."
"Sustainable" was defined by the World Commission on Envi- ronment and Development in 1987 as "meeting the needs of today without compromising the ability of future generations to meet their own needs." To design for the future we need to look at the processes of nature and how our designs can fit and connect witltin that larger framework, /oi "organism for living" would act to supply, store, and renew re- sources and to clean and distribute waste products. It would provide a basis for creat- ing better communities. As a nation we can ill afford to design buildings that last less than 20 years prior to their journey to the landfill.
Design is problem solving. While the Boyer Report regarded architectural education as supe- rior for problem solving, it found other areas lacking. One central deficiency mentioned in particu- lar was creating communities. In the truest sense of that term, the "communities," we need to cre- ate will sustain all creatures as well as all resources.
In tlie design and constniction of communities, tlie process of de- signing must incorporate the simple understanding of the "free work" of natural systems. The ba- sis of this approach would begin with an understanding of tlie bio- logical forces and workings within
our home regions. By understand- ing the cycling witliin tlie human and natural systems and creating designs that make connections witliin and/or among tliose cycles, we can increase the urban effi- ciency and, consequently, increase sustainabUity, for futuie genera- tions. Bioregionalism is just such an approach.
According to AIA Florida Committee on Environment and Energy, "Qreen Design is the act of solving problems in a rnan- ner that tvill minimally impact the resource base before, during and after the manufacturing/ consti-uction process. In addi- tion, theprocess and materials must be usefid, have long term benefit, and be able to be ben- eficially returned to the bioregional cycle. "
There are efforts in the state that signal oui" futme in the pro- fession— the Green Materials Conference, the South Florida Sustainable Building Conference by the Dade Coimty Coalition, the Green by Design Awards Pro- gram, are some examples. The Florida Design hutiative's onMne newsletter, e-online, produced at Florida A&M Univereity's School of Architecture, is a national model forenviromnental infonna- tion — let's use it.
Bioregionalism entails the designing of regions, water- sheds, transportation systems, sustainable farm communities, liveable neighborhoods, and vi- able economies that support and are supported by sustain- able natural energies. This
means designing — or redesign- ing— urban and agricultural systems that run off less fossil fuel and have functional connec- tions to the natural systems.
Water and energy are the de- fming resoiu'ces of development. Yet as development occurs we are paving over recharge while exponentially increasing the de- mand. Although we have ample rainfall, we have insufficient wa- ter. How do we design for watershed protection? It goes
77?^ earth belongs to the living. No man may by natural right oblige the lands he owns or occupies, or those tJiat succeed him in that occupation, to debts greater- than those that ynay be paid duHng his own lifetime. Because if lie could, then the world ivould belong to the dead and not to tlie living.
Thomas Jefferson, Architect
without saying that the Simshine State gamers enough solar en- ergy to be energy sufficient. How do we design to maximize the use of this sustainable energy?
We owe it to ourselves, to our children, to our region, to be
more efficient, more sustain- able, more intelligent in our mission. By designing our build- ings, our communities, and our regions to collect and connect such vital natural resources, we can start taking control of their protection.
We are faced with an excep- tional opportimity. The vision and design of our region as part of a larger environment must start with a deep understanding of natural forces tuid resources and how they work. Applying this knowledge, then, is an important step in establishing responsive and responsible structures. Yes, it will mean additional education: about green materials, photovol- taics, off gassing, performance specifications, building commis- sioning, passive heating and cooling systems, ecology, and cli- matic design principles.
Part of the challenging fu- ture is that virtually every existing building needs major design work to make it function energetically and efficiently for the next millennium. As ar- chitects and planners, it is our duty to learn the systems and to provide sustainable solu- tions. Contractors, engineers, and others are busily attending workshops and conferences on important green issues. Archi- tects must not stay at home. It is time to expand our over- worked minds in this direction. If not, in the next century we will doubtless find ourselves griping about our demise.
The I'ewards can be great. Ultimately, it will mean addi- tional business and leadership opportunities. It is also the call of architects. Who else is better equipped? ♦
Architect and planner Daniel Williams, AIA, chairs AIA Florida 's Comm ittee on En- vironment and Energy, as well as serving on the Dade Green Coalition Board and the City of Miami Urban Development Re- vieiv Board.
FLORIDA/CARIBBEAN ARCHITECT Siunmer 1997
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VIEWPOINT
Tropical Design
By Cooper Abbott
Design in F'lorida and the Oar- ibboaii sliould make tlie most of the natural environment, incor- porating the tropics' unique chaiacter and natural changing patterns in the creation of quality spaces. The salubrious climate, seasonal changes of sun angle from summer to winter, daily breeze cycles of the coast, and ever-chang- ing patterns of tlie sky can be used as dynamic raw materials in tlie ar- chitecture of oiu" region.
Tropical design offers unique oppoitiuiities: a blending of interior and exterior spaice, a fluidity of in- terior voliunes, and openness to tlie landscape not possible to the same degree in otlier climates. With these potentialities, however, come spe- cific responsibilities: The downside of our siui-drenched, breeze-filled tropical weather is hurricanes and flooding. While the tropics is one of tlie eartli's most beautiful ecosys- tems, it is also one of the most fragile. From beach erosion to Red Tide to deforestation, tlie tropics is the eardi's hot spot of environmen- tal sensitivity.
Florida and Caribbean design is at a crossroads in its identity. Much of what is being bmlt bears Uttle relation to the environment of which it is a part, opting instead for vague Disneyesque-liistoricist references; the miique nature of tropical life is not considered. EXfer-iniproving technological sys- tems have allowed tliis movement away from consideration of natu- ral site factors with troubling results: Not only do many build- ings bear no relation to their site, but the technological systems themselves are putting increasing loads on the carrying capacity of these fragUe environments.
Over time, different practical strategies for living in Florida and the Caribbean have developed, each with its unique solution to environmental factors. Tlie nietii- ods employed have been diverse as have the physical appear- ances— the thatched roofed, open-air Seminole chikee; the thick-walled plantation house with many windows; the Carib- bean house with deep porches
CItUd Care Center, Sarasota Memorial Hospital, Carl Abbott FAIA. Large windows admit natural light, allow visual surveillance for safety. Tall central space allows hot air to rise. Windows and doors open for cross-ventilation. Photograph: Cooper Abbott
and a central stairwell. These three examples are all formally quite different in their articulation of space, their use of materials, and their appeaiance, yet all are intrinsically tied to the climate and enviromiient. It is this rela- tionship within the realities of the tropical environment that ties these diverse design approaches, not a preconceived formalism. If om' present architecture can fo- cus on these roots rather than on facades and barrel-tUe roofs, en- couraging benefits in variety and improved operation could result. A 1994 child care center project in Sarasota by Carl Abbott Arcliitect FAIA serves as an example of how some of these elemental environ- mental design factors can be applied. At the heart of Uie project was the need to create a space that would interest and cliaUenge young children. The solution was to har-
ness the natural environment, with its constantly shifting patterns, to provide actively changing elements across daily and annual cycles in a space tliat would house supportive and educational programs.
Lake the Plantation-era Gamble Mansion in Manatee Coimty, this modem child care center is oriented to the sun's southern declination, hi the days before electric power, tiiis was an important consideration; in these days of energy conservation, it still is. Extensive use of glass on the soutliem elevation opens the building to tiie surrounding site and play areas, minimiziiig tiie distinc- tion between inside and outside while maximizing ease of observa- tion throughout the building — a key safety featiire.
The tall, bright form of the central room allows hot air to rise and ventilate, similar in func- tion to the central stairwells in
Liiiiii iHirehes proeide sliellerfnnii sun m/il rain, ertcnding usable outdoor spaces. Pliotograph: Steve Brooke
the old island houses. Doors and windows open to allow cross- ventilation, and ceiling fans provide supplemental air move- ment, whether fresh air or air-conditioning. The commer- cial kitchen takes the logical step of orienting its heat-generating functions away from the main interior spaces. And as anyone who has ever visited the Gamble Mansion's detached kitchen in the simimer can attest, that can be quite a heat load.
Functionally, too, the building is split into sections, each able to control its own interior environ- ment by means of cross-ventila- tion, fans, or air conditioning. This aiTangement also allows maxi- mum control of student activities, focused learning, acoustic con- trol, and privacy.
Extensive use of outside spaces is made possible using plasticized canvas shade-kites, which, chikee- Uke, give shelter from sun and rain witii maximiun openness. These sheltered areas, exposed to the sur- rounding natural environment, provide healtiiful and comfortable teaching and play aieas. Tlie land- scape is brouglit in as a functional element of tiie design where a large oak and other trees offer shade and, tiirough their respiration processes, natiual cooling — ^an old island trick applied in a modem context.
Wliile these are just a few ex- amples from a single project, it should be evident that practicing Florida and Caribbean architects can find ways to improve their responses to the tropical environ- ment. Through investigating practical designs of other times and other places, they can meet the needs of today and tomorrow by drawing on successful tradi- tions of the past. ♦
Cooper Abbott is a planner and designer with Carl Abbott FAIA Architects/Planners in Sarasota, specializing in envi- romnental design and child-care environments. Wliile a Fulbright Fellow in Western Samoa he was accorded the "Flame" chief title on the island ofManono.
24
FLORIDA/CARIBBEAN ARCHITECT Summer 1997
INDEX TO ADVERTISERS
Buyers' Guide
Architectural Photography
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Architectural Rendering
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Artificial Thatched Roofs
Tropic Top/Symbold 20, 26
Building Products
Aluminum Services 28
CADD
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Cisterns
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Claims Control
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Construction Claims
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Construction Management
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Cost Estimating
Associated Cost Engineers 20
Design Software
Intergraph Corp 23
Doors & Windows
Window Classics Corp 26
Drafting Supplies
Intergraph Corp 23
Drapery Fabric
Carnegie Fabrics 28
Energy Technology
Florida Natural Gas IFC
Engineered Lumber
Trus Joist MacMillan 4
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INDEX TO ADVERTISERS
Buyers' Guide
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Healthcare Insurance
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HVAC
Florida Natural Gas IPC
Insurance
AIA Trust 27
Collinsworth, Alter, Nielson, et al 20
Sedgwick of Florida, Inc 23
Seitlin & Company Insurance 2
Suncoast Insurance Associates, Inc 2
Lighting & Bath
Farrey's 1
Marvin-Windows & Doors
Window Classics Corp 26
Natural Gas
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Plumbing
American Cistern 26
Professional Liability
Collinsworth, Alter, Nielson, et al 20
Sedgwick of Florida, Inc 23
Seitlin & Company Insurance 2
Suncoast Insurance Associates, Inc 2
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INDEX TO ADVERTISERS
Buyers' Guide
Risk Management
Sedgwick of Florida, Inc 23
Roof-Tile
MasteriJiece Tile Company 20
Roofs/Artificial Thatch
Tropic Top/Symbold 20, 26
Spiral Stairways
American Ornamental Corp 25
Stone
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Upholstery Fabric
Carnegie Fabrics 28
Wall Fabric
Carnegie Fabrics 28
Waterfalls/Ponds & Rock Formation
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CONTENTS
FaU 1997 Vol. 44. No. 3
Cover:
Diysdale Reskkme, Atlantic Beach, Photograph: George A. Cott, Chroma, Inc., 1997 AIA Florida Architectural Photographer of the Year
1997
Awards for Excellence
in Architecture
Firm of the Year
Donald Singer Architect, P. A. is honored for en'cellence in design, education, and service to the profession and the commimUy.
Awards for Excellence in Architecture
Spillis Candela and Partners' Martin and Pat Fine Center for the Arts at Miami Dade Community College, Kendall Campus, enhances all the programs it houses.
Architects Design Group's philosophy of green design takes on a coloiful twist for this Orange County Landfill Operations Facility.
Rodriguez and Quiroga Architects Chartered built in lake vieivs and a fitness center for student residents of this Lynn University Donnitory.
Cantilevered porches of the Drysdale Residence, by William Morgan Architects, rise above the treetops and face the sea.
Donald Singer Architect's diagonal plan for the Brody Residence on Star Island creates dynamic spaces inside and out.
Test of Time
10- year: George F. Reed, FAIA, A House Among the Tr-ees, Miami.
25-year: Spillis Candela and Partners, Miami Dade Community College, Miami.
25-year: Augusto Gautier, AIA, and Hector Llenza, AIA, Pine Grove Apartments, San Juan, (AIA Puerto Rico award).
Unbuilt Designs
Atlantic House, Key Biscayne, Castineira + A.xioma_3 Architects; Tampa Police Department District Substation, Tampa, Alfonso Architects Inc.; Hillsborough Commu- nity College Public Ser-vice Technology Building, Ybor City Campus, Tampa, Flad & Associates Inc. and Alfonso Architects Inc; Windsor Town Center; Vero Beach, Scott MerTill, AIA.
12 13 14 15 16
20 21
22 26
Departments
Editorial
News
New Products
Viewpoint
by George A. Allen, Hon. AIA
3 4 6
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EDITORIAL
florida/caribbean architp:ct
Florida Association of the American Institute of Arciiitects
104 East Jefferson Street Tallahassee, Florida 32301
Editorial Board
John Totty, AIA, Chainnan John Howey, FAIA Karl Thome, AIA
President
John R. Cochran, Jr., AIA
Vice President/President-elect
Roy Knight, FAIA
Secretary/TVeasurer
Vivian Salaga. AIA
Past President
William Blizzard, AIA
Senior Regional Director
Henry C. Alexander, Jr., AIA Coral Gables
Regional Director
John R Tice, Jr., AIA Pensacola
Vice President for Professional Excellence
Ivan Johnson, AIA
Vice President for Political Effectiveness
Debra Liipton, AIA
Vice President for Communications
Keith Bailey, AIA
Executive Vice President
F Scott Shalley
Editor
Margaret Barlow
Published by
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Layout & Design
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Ftotida/Cnribbeat} Architect. Official Journal of the Florida Association of the American Institute of Architects, is owned by the Association, a Florida Corporation, not for profit. lSSN-001.5- 3907. It is published four times a year and distributed through the Executive Office of the Association. 104 East Jefferson St.. Tallahassee. Florida 32301. Telephone 904/222-7590
Opinions expressed by contributors are not necessarily those of AIA Florida. Editorial material may be reprinted only with the express permission o{ FlariitdyCaribticaii Architect
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I
n .selecting this year's Awards for Excellence in Design,. jury members seemed attracted by time-honored concepts such as simplicity, clarity, sense of place, and the practical ways in which people exiierience a building. Award recipients featured in these pages include Unbuilt, Excellence in Design, Test of Time, and Finn of the Year. Design Awards Committee Chair, Peter Hepner, AIA, and Rick Rowe, AIA, did an outstanding job of organizing, selecting, and assembling juries.
Jurors Robert McCarter, AIA, D.E. Holmes, FAIA, and Frank Lupo, AIA, meeting in Tampa to review llnbuilt projects, made four selections. They liked Scott MeiTill, AIA's Windsor Town Center (Vero Beach) for its appropriation of Greek forms and beautiful pencil drawings. Castineira -i- Axioma_3 Architects' sophisticated design for Atlantic House (Key Biscayne) "has the presence to hold its own" in a mixed-dwelling suburban neighbor- hood, they said. Jurors appreciated the way Alfonso Architects' non-institutional design for the Tampa Police Department District Substation reaches out to the neighborhood. For the Public Service Technology Building, planned for Hillsborough Community College's Ybor City campus, Flad & Associates and Alfonso Architects related to neigh- boring structures in the historic district by juxtaposing quiet elevations with industrial fonns, noted jurors.
A New York jury, including Thomas Phifer, AIA, Gary Tamarkin, AIA, Kenneth Frampton, and Victoria Meyers, selected five projects to receive Awards for Excellence. Two contemporary residences designed to capture incredible local views took honors: Donald Singer Architect's Brody Residence, off Miami Beach, with its intricate geom- etry, and William Morgan Architects' Drysdale Residence, with its cantilevered porches above the tree-line. Projects at two universities, one public, one private, were selected. Juror's applauded Spillis Candela and Partners' Martin and Pat Fine Center for the Arts, on Miami Dade Community College's Kendall Campus, for the sculptural quality of its exterior stair-towers and ground-floor plaza. The clean lines, high-functionality, and low- maintenance aspects of Rodriguez and Quiroga Architects Chartered's Lynn University Dormitory, Boca Raton, also appealed to jurors. Rounding out this group is Architects Design Group's totally "green" Orange County Landfill Operations Facility, in Orlando, which jurors called "an American high-tech building of real conviction."
Test of Time jurors Mark Hampton, FAIA, Donald Singer, FAIA, and Suzanne Martinson, AIA, selected two Miami projects. Chosen were George F. Reed, FAIA's House Among the Trees (1979), and Miami Dade Community College, master-planned in 1967 by Spillis Candela and Partners. Also included here is the Puerto Rico chapter award recipient in this category: Pine Grove Apartments, in San Juan, designed in 1960 by architects Augusto Gautier, AIA, and Hector Llenza, AIA.
The 1997 Finn of the Year is Donald Singer Architect, which, for more than 30 years has set an example of integrity and princi])led design. The jury that selected the Fort Lauderdale firm included Carl Abbott, FAIA, Steven Gift, AIA, Joe Chillura, Chuck Sackett, and Thomas Hammer, AIA.
Awards were presented at the 85th Summer Convention in Orlando, on August 9. We also salute the following Public Award winners: Walter Q. Taylor, FAIA, Award of Honor for Design; Hon. Nancy Liebman, Bob Graham Honorary AIA Architectural Awareness Award; John P. Tice, AIA, Hilliard T. Smith Community Service Award and Silver Medal; S. Keith Bailey, AIA, Anthony L. Pullara Memorial Award; and George A. Cott, Chroma, Inc., Architectural Photographer of the Year
Wrapping up this issue is a Viewpoint by George Allen, who leaves AIA Florida after eighteen years as Executive VP. George will jog a few memories as he recalls "how I learned to spell architecture." MB
Flofida/Caribbeaii Architect serves the profession by providing current information on design, practice management, technology, environment, energy, preser\'ation and development of oomnuinities, constniction, finance, economics, as well as other political, social, and cultural issues that impact the field.
FL(JRID/VCARIBBE.\i\ ARCHITECT Fall 1997
NEWS
Shalley Assumes AIA Florida Post
R. Sc-ott Shalley became AIA Florida's new Executive Vice President on August 1. The Florida State University graduate holds degrees in Political Science and Business. He is a native of Foil Myers. Since 1993 he has served as Executive Vice Presi- dent of the Florida Psychological Association.
In 1988 Shalley began his af- filiation with the FPA. He was Director of Governmental Af- fairs prior to assuming the role of Executive Vice President. During his tenure he acted as FPA's primaiy spokesperson on legislative and administrative is- sues and was Managing Editor of its publication, Tlie Florida Psychologist.
Under Shalley's leadereliip, FPA experienced steady growtli in mem- bersWp, non-dues revenues, and convention attendance, as well as a notable rise in political effective- ness. The Association also initiated a number of new and profitable member benefits.
"It is an honor to be joining AIA Florida, "said Shalley, "It wdll be my focus to ensiu-e that the Association provides members with a tangible return on their dues investment. Tlirougli strong legislative representation and in- creased member services, AIA Florida can continue to serve as the voice of «// Florida aixiiitects."
A resident of Tallahassee, Shalley is an avid golfer and fisher- man. In addition to service on the Board of Directors of the Florida Society of Association Executives, he is a member of the Board of TiTjstees of two juvenile beatment facilities and a Deputy Supervisor of Elections for Leon Coimty.
1998 Honor Awards Presented in Orlando
The 1997 Public Honor Awards were presented at the 85th Summer Convention in Or- lando, on August 9. AIA Florida President John A. Cochran, Jr.,
AIA, and Immediate Past Presi- dent Bill Blizzard, AIA, made the presentations.
Walter Q. Taylor, FAIA, Chair- man and CEO of KB.I Aichitects, Jacksonville, received the Awaid of Honor for Design in recogni- tion of his consistently excellent work over a 30+ year career. Taylor's approach to design con- tinues to reflect a concern for architecture's impact on the pub- lic, and demonstrates how qual- ity design can benefit the public welfare. Examples of architec- tural designs Taylor has led in- clude airport passenger termi- nals in Orlando, Jacksonville, Sa- vannah, and San Juan; numerous special exhibitions for the Jack- sonville Art Museum; Barnett Bank of Tampa headquarters; and the Federal Reserve Bank of Atlanta, Jacksonville branch.
Hon. Nancy Liebman, Com- missioner, Miami Beach, re- ceived the Bob Graham Honor- ary AIA Architectmal Awaieness Award, given to a nonarchitect who promotes design excellence in the community. The award recognizes her 15-year effort to presei^ve the architectural heri- tage of Miami Beach's historic districts.
John P. Tice, AIA, president of BuUock-Tice Associates, Pensacola, received die HiUiaid T. Smith Community Service Award and Sliver Medal. Through exten- sive volunteer and community service over many years, Tice has used his leadership abilities to af- fect wide-ranging issues, from day caie to zoning.
S. Keith Bailey, AIA, of Helman Hurley Charvat Pea- cock, Maitland, received the An- thony L. PuUara Memorial Award, honoring his dedication to the profession of arcliitecture. Last February the National Grassroots Conference recog- nized his outstanding contribu- tion to government affairs, not- ing his leadership in opposing the Florida Board of Profes- sional Engineers' bid to allow engineers to design buildings for human habitation.
George A. Cott, Chroma, Inc., was named Architectural Pho- tographer of the Year. Since 1981, he has helped AIA architects record their work, producing superb images that capture the essence of these homes, offices, and pubUc buildings.
Bronze Medals for academic and extracurricular excellence were awarded to four top stu- dents in the state's schools of ar- chitecture. They were Karen Bala, University of Florida; Reginald Cox, Florida A&M Uni- versity; Celine Hardan, Ihiiver- sity of Miami; and Jason Westrope, Llniversity of South Florida.
New AIA Florida Officers
Debra Lupton, AIA, Orlando, was elected First Vice President- President-Elect of AIA Florida during the recent Annual Meet- ing in Orlando last month. The first woman to hold that office, Debra will assume the presi- dency of the State Association in 1999.
Elected Vice President for two-year terms were William Bishop, AIA, Jacksonville, and Miguel A. (Mike) Rodriguez, AIA,
Miami. Angel Saqui, FAIA, Mi- ami, was elected to a three-year term as Regional Director, suc- ceeding Henry Alexander as the Florida/Caribbean Regional rep- resentative on the AIA Boaid of Directors. They will assume of- fice January 1, 1998.
Current President-Elect, Roy Knight, FAIA, Tfillaliassee, will as- sume the office of President for 1998 on January I. Vivian Salaga, AIA, Tampa, wiU fulfill her two- year term as Secretary-Treasurer, as will Keith Bailey, who will complete his two-year term as Vice President. John Tice, AIA, Pensacola, will become Senior Regional Director, fulfilling his three-year tenii on the AIA Na- tional Board of Directors.
President's Awards
AIA Florida President John R. Cocliran, Jr., AIA. presented Miguel A. (Mike) Rodriguez, AIA, Miami, and Florida State Senator Charles W. Clary, AIA, Destin, with President's Awards for their exceptional service to the pro- fession and AIA Flozida during the past yccir.
In presenting the awards, Cochran recognized Rodriguez
AIA Florida Presidnils present, past, aiidjutiin; honor George and Becky Allen at the convention in Orlando. From left, 1997 President John R. Cochran, Jr., 1998 President-Elect Roy Knight, former Executive Vice President George Allen, Becky Allen, 1996 President Bill Blizzard, and 1999 President-Elect Debra Lupton.
vunmwi :.\KiiiHKAN .\R(:iiitfx:t Fail 1997
NEWS
for "working closely with AIA at every level, for the betterment of us all." Senator Clary, said Cochran, "has taken an active role in our government, set a high ex- ample for our membership, and provided some very real input at our state's higliest levels on design and construction matters." A spe- cial caricature of Clary, drawn by Ernest Straughn Sr., was pre- sented to him along with his award certificate.
University of Florida Names Award Recipients
The University of Florida each year recognizes members of the profession for their out- standing contributions. l.S.K. (Keith) Reeves, AIA, a 1964 graduate, president of Archi- tects Design Group, Inc., Winter Park, received the Distinguished Architecture Alumni Award. Jan Abell, FAIA, Tampa, architect and visiting scholar at the uni- versity last year, received the Distinguished Service Award. Peter Hepner, AIA, a 1982 gradu- ate and partner in Holmes, Hepner and Associates, Tampa, received a Young Architects Design Award.
died August 8th, at age 78, in New York.
Rudolph, who became inter- nationally known through his exquisite ink drawings and com- pleted landmark buildings in Sarasota, went on to chair the Department of Architecture at Yale University from 1958 to 1965. After leaving Yale he lived and practiced in New York City, designing numerous projects ranging from single-family resi- dences to high-rises and megastructures around the world, hi 1994 AIA Florida rec- ognized his architectural achievements by presenting him its Gold Medal.
Some of his landmark projects still standing are the Healy "Cocoon" Cottage (1948- 50), the Hook Residence (1951), and the Sanderling Beach Club (1951, placed on the National Historic Register in 1994), all in Siesta Key; the Walker Guest House (1952), Sanibel Island; the Hiss "Umbrella" House (1953), Lido Shores; Sarasota Senior High School addition ( 1960); and the Milam Residence (1960), Jacksonville.
Paul Rudolph dared to dream and successfully executed his ar- chitectural ideas as few 20th- century architects have been able to do. He was the "spiritual" leader of the Sarasota group of architects in the 1940s, 1950s,
and 1960s, which included Vic- tor Lundy, Mark Hampton, Gene Leedy, Tim Seibert, and Jack West, among others. Siibnntted by John Howey, FAIA, author of The Sarasota School of Architec- ture 1941-1966 (MIT Press).
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Linda and Rick Rowe, AIA, with retrospective honoring Rick's father, H. Dean Rowe, FAIA, founder of Rowe Architects, who died May 19, in Tampa. Shown at the August 9 Reception at the Orlando Conveiition, the 50-foot display featured photo- graphs chronicling more than SO years of architecture, pro- fessional activities, family, friends, and associates.
In Memoriam
Frederik C. Gjessing, AIA,
died on Febmaiy 15, 1997, at his home in Martinique. He had lung cancer. Bom in 1918, in St. Louis, Missouri, his long career began in New York City after service in the U.S. Navy during World War II. As a designer for the U.S. Na- tional Park Service (1958-79) in San Juan and the Virgin Islands, he directed numerous rehabilita- tion and restoration projects, in- cluding fortifications and his- toric homes and plantations. Last December he was honored by the U.S. Virgin Islands Chapter of AIA for his lifetime of achieve- ment in preserving the region's architectural heritage.
Paul Rudolph, one of Florida's best known architects in the 1950s, 1960s, and 1970s,
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FLOmiWCMUIiliKAN AKCIIITEC'.T Fall 1997
AIA Florida
1997 Firm Award
Sharing a Dedication to Architecture
Donald Singer Architect, P.A.
Leafing through a firm histoo of Donald Singer Airhitect, one can't help but notice a com- mon design thread. There's "a look," a disamiing clarity, an es- sential ideal that reaches tluough the pages chronicling the Ann's 30+ years. It is apparent, as col- leagues and critics aptly note, that Donald Singer Architect shapes space; Don Singer has an eye. In project after project, the Ann has created urbane, dynamic, haimo- nious, appealing modem spaces for living, learning, and working.
It was in 1964, the year Don Singer established the firm, that he designed the four-family dwelling in Fort Lauderdale that earned him his first AIA Florida Honor Award and national at- tention. Like this project, most of the early commissions were modest residences, clean-lined and spare, with a common de- nominator of "orderly and meaningful space." Also like this project, they still are handsome, viable homes in the 1990s.
Then as now, his was a mod- ernist style laced with practical- ity. Although since the late 1970s the finn has distinguished itself with larger, public projects as well, it maintains a commitment to residential design. The Brody Residence is featured in these pages, having garnered a 1997 Award for Excellence.
Many Singer projects grace the South Florida urban land- scape, fimctional structures — warehouses, shops and offices, a country club, apartments — of- ten of concrete, always of unex- pected refinement. Following the phenomenal 1979 success of downtown Fort Lauderdale's City Park Municipal Garage, the Singer firm received commis- sions for larger public and com- mercial projects, including the singular Fire Prevention Bureau, the Coral Springs Civic Center, prototype elementary and middle schools (to date imple- mented nine and eight times, re-
Left to Right: Teen Woon, Caruliiia (Jurcia, Craig Barry, Jenifer Johnson, Donald Singer, Michael Gokly, Roger Lebida, Elaine Singer, Pete Leiser. Photograph: Ed Zeaiy
spectively), branches for the California-based World Savings & Loan Association (ten, so far), and, currently, a 5000-space parking facility for the Fort Lau- derdale-Hollywood airport. In each case, the deceptive
sun or the elements, the need for security, the ability to attract downtown development, the cre- ation of openness or privacy, or just the opportunity to cast an aiTesting space or shadow. The result is arcliitecture as art.
JURY: TJiisfinn 's accomplishments are a ivonderful balanced representation of what the profession can provide in the way of value and sovice. It was quite clear. . that the firm, is equally committed to professional as well as design excellence. Tliis firm's years of generous service to the profession, education, and comm-unity are clearly attributes that younger firms should model themselves after for generations to cotne. Not only does thefinn's work demonstrate an absolute integra- tion of a disciplined architectural agenda that clearly solves its clients' needs, but it maintains a human quality that will ceitainly stand the test of time.
simplicity thai seems to mark Singer work grows out of a prac- tical solution — adapting to a dif- ficult or interesting site, captur- ing a view, protection from the
Not that Singer work has ever wanted for recognition, but ap- preciation of the firm's consistent excellence seems to be growing. Its structures support and en-
hance the daily lives of people in the community. Tliey don't shock. Rather they offer elegant spaces, soft natural light, natural ventila- tion, with the added surprise of a sharply cropped view tluough a roof or an open corridor
Singer's long list of design honors and publications is par- alleled by a longer list of conunu- nity activities. Since the 1960s he has taken a leadership role in local development issues and projects, and he has stayed ac- tive in state and local AIA func- tions and on industry advisory boards. In 1984 Don Singer re- ceived AIA Florida's liighest trib- ute, the Award of Honor for De- sign, and in 1985 he was inducted into the College of Fellows.
Tlie finii welcomes intenis irom schools in and outside of Florida And Singer frequently takes op- poitimities to address student and commimity groups to promote ar- chitecture and the profession.
8
FLORin.VC.NRlBliEAN .XRCIMTECT Fall 1997
AIA Florida
A shared dedication by indi- viduals in the tirni to "the creative potential that exists in architec- ture," has resulted in an average tenure of ten years. Like Singer, who throughout his career has maintained a continuing involve- ment in community and profes- sional service, everyone in the finn follows suit.
Elaine Singer, is the firm's longtime (impaid) administrator and bookkeeper Singer also cred- its his wife and "best friend" with being "a great listener, a damned good critic with a great eye," and with raising the couple's two daughters "with her other hand." She also is active in the commu- nity arts scene, as is administra- tor Jenifer Johnson, with the firm since 1995.
Other long-term associates Craig Barry and Roger Lebida, AIA, have been with the finn 25 and 13 years, respectively. Bany, a Fort Lauderdale native and Singer's "confidant and right hand," is legendary, says Singer for liis ability "to put a building together on paper" Lebida, who came to the firm as a student ex- tern, is a skilled manager and ac- tive in AL\.
Wayne Jessup, AIA, with the firm from 1980 to 1988, recently returned as a project architect. His interests run toward the en- vironment, including Florida Keys planning and preservation. Intern architects are Carolina Garcia, AIA, and Teen Woon. Garcia, a 1994 graduate of the University of Florida, received the Certificate of Merit awarded to the year's top graduate. Malay- sian-born Woon, an eight-year veteran and currently a project manager, sings with the Gold Coast Opera, plays tennis, and speaks five languages. CADD operator and speed skating champion Pete Leiser, with the firm since 1990, kind of speaks another language — says Singer, "He was born with computer chips in his brain." Leiser skates to fund-raise for charity. Con- struction management and field work is the responsibility of
Michael Goldy, a chief of the Mohegan tribe and YMCA volim- teer, and with the finn six years.
In 1964 Singer wrote:
Beauty is not a precon- ceived ideal, but latlier the qualitatii>e result ofpu7jx>seful action. Wfien we contemplate tluit tliouglit, it folhws quite naturaUn tliat standards of
beauty ciinnge as does life, a fad which manyjintldiflindt to acknoniedge. Aivhitecture must clwiige in the same way for it is not taste, it is idea; it is not whim, it is reason; it is not mere decomtion of func- tion, it is anticipation of life. Anticipation — i20t imitation; that is whatjaisesaivhitectuiv to Uie level of 0)1.
With such fundamental ideal- ism and integrity, Don Singer has guided his firm in creating or- derly, thoughtful centers amidst South Florida's explosive growth. Since 1964, Donald Singer Architect has set an ex- ample of principled design as well as a generous sharing with the community of its resources and intelligent .spirit. ♦
Drysdale Residence, Atlantic Beach
William Morgan, FAIA William Morgan Architects, RA.
GEORGE COTT
Architectural/Interior Design Photography
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AIA Florida
1997 Award for Excellence
Martin and Pat Fine Center for the Arts
Miami-Dade Community College, Kendall Campus Spillis Candela & Partners, Inc.
The Martin and Pat Fine Cen- ter created a Western gate- way to MDCC's growing Kendall campus. Dedicated last Febni- ary, its two buildings, totalling approximately 100,000 sf, estab- lished a center for the arts and arts education on campus.
The smaller structure, formed from three cubes, con- tains studios and workshops. TWo upper floors of the larger building house classrooms and additional studios. Below, at ei- ther end of the plaza level, the graceful ciuving entrances of the theater and art gallery and the sound engineering building are expressed as sculptural ele- ments floating underneath the linear building. The open plaza has become a gathering space, where students walk through to nearby campus parking.
Precast concrete sunscreens covering east and west facades and extensive use of exterior stair towers add three-dimen- sional interest to this new cam- pus focal point. ♦
A bivdk brtivcf'u thf buildings frames a new gateway into the cam- pus. Photograph: Hedrich Blessing/Nick Merrick
JURY: A straightfonvard but beautifully proportioned clas- sic Neo-Corbusian format, clad in finely detailed precast elements over a reinforced con- crete frame. An unusuaUy con- vincing use of brise-soleil, rhytliinicaliy intemipted by powerfully sculptural stair- cases.
Architect:
Spillis Candela &
Partners, Inc. Principal in Cliarge;
Hilario Candela, FAIA Project Director:
Jesus Cruz, AIA Project Manager:
Jorge E. Iglesias, AIA Project Designer:
Lawrence Kline Project Architect:
Luis Moran, R.A. Engineer:
Spillis Candela &
Partners, Inc. Construction Administration:
James Koepp, AIA Owner:
Miami Dade Community
College, Kendall Campus
Stair towers e.rpress themselves by pulling away from tlie build- ing. Photograph: Hedrich Blessing/Nick Merrick
12
FLORlD/VCAKIMIiKAN AR(:HITK( ;T Fall 1997
AIA Florida
1997 Award for Excellence
Orange County Landfill Operations & Maintenance Center
Orlando
Architects Design Group,
Inc.
Issues of environmental con- straint and the practice of sus- tainable architecture influenced the design concept for this facil- ity. The design results in minimal impact on the environment, uses recycled and recyclable materi- als, is energy efficient, and will have a useful life of 100 years or more.
This administration, training and equipment maintenance fa- cility is the operations center for an experimental landfill. The building, as an extension of its delicate woods-and-wetlands site and the character of the land- fill, utilizes color, form, and mass to defme its various functions.
Conventional construction systems used include slab- on-grade, steel structmal frame, single-ply roof, and insulated (re- cyclable) steel wall panels. Interior construction combines gypsum board and CMU parti- tions and an exposed ceiling. Floor, wall, and other finishes are made from recycled materials. ♦
Colors reflect the i)ninediate environment: green is the primary building skin, with accents of blue, red, and yellow, seen in bales of recycled waste materials at the landfill, used to define specific functional elements. Photograph: Kevin Haas
JURY: A spirited Neo- Constructivist treatment of a rather rnundane, utiHtaHan program. The so-called "iden- tity wall" is a compelling, spa- tial landscape/architectural feature... a brilliant exercise in high-tech, clip-on, polychro- matic form. For once, inside and out, an American hi-tech building of real conviction.
Energy-efficient metal halide and skylights illuminate opera- tions and maintenance areas for heavy equipment. Photograph: Kevin Haas
Identity wall defines entrance and boundary. Photograph: Kevin Haas
Architect:
Architects Design Group, Inc" Principals in cttarge:
I.S.K. Reeves V, AIA,
Kevin Ratigan, AIA Design Team:
I.S.K. Reeves V,
Kevin Ratigan, AIA,
Steve Langston, AIA Interior Design:
Architectural Interiors, Inc.,
Susan LaTorre Landscape Architect:
Bellamo-Herbert &
Company, Inc. Structural Engineer:
Paul J. Ford & Company Civil Engineer:
Brindley Pielers &
Associates Inc. Mechanical/Electrical Engineer:
IMDC General Contractor:
G.H. Johnson Ecological f^onsultant:
Lotspeich & Associates, Inc. Owner:
Orange County Board of
Commissioners
FLORIDA/CARIBBE/VN .\RCHITECT Fall 1997
AIA Florida
1997 Award for Excellence
Lynn Residence Center
Boca Raton Rodriguez & Quiroga Architects Chartered
Designed to be integrated within a university campus developed during the 1960s, this three-story dorm incorporates all the efficiencies of the 1990s. Re- sponding to a program requiring 72 dormitory units, a wellness center, and a modest construc- tion budget, the architects cre- ated a simple bai-type building. By fracturing the building enve- lope, they expressed the diverse building functions.
Dormitoi-y units are textured with window walls (that front on a lake) combining fixed alumi- num, spandrel, and translucent glass panels with operable vision glass windows. In contrast, the public areas are treated with glass block.
Practical and low-mainte- nance, the building is connected to an existing central cliiUed wa- ter plant wliich cools the lobbies, fitness center and other public aieas. The clean lines of this con- crete framed structure are fin- ished with painted stucco. ♦
JURY: A delicate Neo-Corbusia II piece togeUier ivitli light constructivist dogleg stair- cases at the corners, volumetri- cally emphasized through glass block cladding. A simple plan to the point of being sche- matic, but still producing an exceptional student donn itory.
Dormitory units feature lake views through textured window walls that include operable windows. Photograph: Patricia Fisher
Architect:
Rodriguez & Quiroga"'
Architects Chartered Principal in charge:
Raul L. Rodriguez, AIA Project Architect:
Ivan BIbas Project Team:
Raul L. Rodriguez, AIA,
Antonio M. Quiroga, AIA,
Ivan Bibas, Carl Penland,
AIA, Miguel Perez Structural Engineer:
Donnell DuQuesne &
Albasia, P.A. Mechanical/Electrical Engineer:
McDowell Engineering
Consultants General Contractor:
Edward J. Gerrits, Inc. Owner:
Lynn University
Glass block treatment designating public areas punctuates comer and lights interior stairwell. Photograph: Patricia Fisher
14
FU)RiaVC.\RJBBE,\N.\RClIITEt;T Fall 1997
AIA Florida
1997 Award for Excellence
Drysdale Residence
Atlantic Beach William Morgan Architects, PA
Elevated, fourth -floor family living space gave the owners of this hurricane-resistant home their ocean view. Cantilevered porches visually extend the liv- ing, dining, and kitchen areas, while broad overhangs minimize glare and protect the balconies from blowing rains and summer showers. Limited windows on the two lower, bedroom floors enhance privacy and provide ventilation.
Two plywood-sheathed, wood frame towers support the platforms for three floors above grade, comprising 1630 sf. Glass blocks introduce daylight into the towers. Rafters spaced on alternating centers impart a dis- tinctive scale to the interior spaces.
Building materials recall those of area seaside cottages, with natural finishes of cedar shingles and southern yellow pine finding theii' complement in painted white walls, railings, and cabinets. Minimizing the building's footprint allowed for tree preservation on the 60 x 125 foot lot. ♦
Architect:
William Morgan Architects, PA
Principal in charge:
William N. Morgan, FAIA
Landscape Architect:
Janet O. Whitmill Structural Engineer:
Bill Simpson, RE. Contractor:
Cornelius Construction Co. Owners:
Mr. and Mrs. Charles E. Drysdale
Sheltered porches extend elevated living, dining, and kitchen areas to incorporate surrounding kind- and seascapes. Photograph: George A. Cott, Chroma, Inc.
JURY: lliis has a .strong gvslall that depends upon cantilevered balconies and roofs and is strengthened by the iconic use of fenestration on a.vi.s, includ- ing a single vertical strip of glass blocks. The house takes full advantage of a restricted suburban site by elevating the living space clear of the trees. Tliere is a generous entry from the carport and overall cross a.rial energy reminiscent of Frank Lloyd Wright.
Limited north and south fenes- tration gives privacy from neighbors, while east and west faces open to light and vieivs through the trees. Photograph: George A. Cott, Chroma, Inc.
FLORIDjVCARIUBEAN architect FaU 1997
15
lA Florida
1997 Award for Excellence
Brody Residence
Miami Beach
Donald Singer Arcliitect,
P.A.
Located on Star Island, at the eastern end of the MacAithiu' Causeway (connecting Miami Beacli and the city), the site of this home is truly one of Miami's most dramatic. The design was driven in Itirge part by the desire to capture the spectacular views of the city skyline and Biscayne Bay.
A 24-foot square grid was used to create a series of inter- locking spaces that step back as they progress across the site, al- lowing each area to capture the "drop dead" view of the city. The west-facing porch shades an ex- panse of glass open to the water, and the concept is reinforced in the details.
The structure is concrete masonry placed in running bond in two colors, with concrete beams exposed inside and out. Double wall construction fea- tures a highly efficient insulating core, and a grid of laminated wood beams with wood decking, also highly insulated, form the roof. The grid concept extends into the site, creating a structural continuity with the house and a visual extension that unites house, site, and city. ♦
Architect:
Donald Singer, Architect,
P.A. Principal in charge:
Donald I. Singer, FAIA Landscape Consultant:
McLean & McLean Consulting Engineer:
Donnell, DuQuesne &
Albasia General Contractor:
Kellerco Owner:
Dr. and Mrs. Lawrence
Brody
Interlocking spaces step back as they progress across the site. Photograph: Ed Zealy
JURY: E.rceptio)ial among all the domestic entries for eslab- iishing a close geometrical modular foiiniat hieratically linking the site plan order to the volumes of the house itself. ..this house displays a rigorous set of fair-faced eleva- tions both inside and out. These elevations are carefully orchestrated from a material standpoint, ringing the changes between coursed con- crete blocks of different colors and incised concrete beams. Tliis orchestration combined with the geometry creates a dy- namic, sensitively propor- tioned internal space.
Alternating courses of g ivy and tan block accentuate geometry inside and out, here create a dynamic frame. Photograph: Ed Zealy
16
FLORlD.VCAR]BBE/\N ARCHITECT Fall 1997
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FLORjaVCARIBBEAN ARCHITECT FaU 1997
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FLORlDA/r.ARIBBE.\>;.\RCIIlTE(:T Fall 1997
Principal Suppliers for Design Award Projects
Brody Residence, Miami Beach
Donald Singer Aichitect, P.A.
Principal Suppliers: American Eagle Masoni-y, Crawford-Tiacy Glass, Structural Roof Systems, Paver Systems, Old Masters Cabinetry
Drysdale Residence, Atlantic Beach
William Morgan Aichitects, P.A.
Principal Suppliers: (ien Star (roofing), SYP (lumber and flooring), Sbakerton (siding), Juno/Seagull (lighting), Pittsburgh Coming (glass block), Theriua-Tru (exterior doors), Kinco, Therma, Barrier (windows)
Lynn University Dormitory, Boca Raton
[Rodriguez & Quiroga Architects Chartered
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Orange County Landfill Operations Center, Orlando
Ajchitects Design Group, Inc
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Martin and Pat Fine Center for the Arts, Miami-Dade Community College, Kendall Campus, Dade County
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We want Florida/Caribbean Architect to be an effective resource for AIA members when making their purchasing decisions. As an additional benefit, Dawson PubUcations is offering a Fax-On-Demand service.
Participating advertisers are assigned a four-digit code (located under each ad). To access additional infonnation about the advertiser's product and/or service, you only need to dial (410) 252-9.595 from your fax machine and listen to the voice promjjts for further ijistruct ions. PRESTO - you will receive additional info-nnation about adveiliser's product.s imd/or services.
IU11<11),V(;,\R1BI3E.V\ Al«:lIITEt;T Fall 1997
19
AlA Florida
1997 Test of Time Award
A House Among the Trees
Miami, 1979 George F. Reed, FAIA
10 Years
Sinte 1979 this suburban tropi- cal house has served its own- ers well. Four broad, wood- shingled roofs help define a modular compound secured by a continuous masonry wall. Separate spaces for the parents, children, and a family kitchen- dining-living area open into a common central courtyard. The interior walls facing the court- yard are linked by a plexiglass- covered wood trellis, with doors that open completely. Simound- ing oaks are viewed above through niunerous skyUglits, and a plunge pool cools by day and lights the courtyard at night.
Tills house among the trees has provided privacy while fos- tering a spirit of family. Located on a busy residential street, it has been a model of environmental and energy conservation. ♦
JURY: 111 is is architect II re (It its best. A simple idea that per- vades the entire building doum to the smallest details... has a rich structural quality ex- ecuted in simple, abstracted vocabulary. The architect clearly understood the impor- tance of place-making com- bined with the responsibility of designing a building that responds to its natural con- text.... ivhat we wish the South Florida vernacular could be about... a house that still has value and has clearly with- stood the test of time.
Connecting trellis is graceful, practical. Pholniiniiili: Sici-rii lliouke
Interior door-walls open into private, central courtyard. Photo- graph: Steven Brooke
20
FU)RI1);VI.;.\RIBBE.\N .\RCIIITECT FaU 1997
I
lA Florida
Miami-Dade Community College
Miami, 1967
Spillis Candela & Partners, Inc.
25 Years
Master-planned in 1967, the second MDCC campus was developed on 185 acres in a growing suburban area. Future buildings were sited and infra- structure was established as ini- tial construction proceeded. Buildings are organized along ar- caded pedestrian circulation spines, giving the campus a "walk-tlirough" cheiracter.
Facilities were designed to react with a tropical climate, in- corporating passive solar meth- ods such as roof overhangs, brise-soleil, and architectural precast sunshades to minimize energy consumption. Buildings designed 25 years ago have nei- ther dated themselves by virtue of appearance nor failed to adapt to the rapidly growing student body and evolving technology. Durable exterior materials, pri- marily architectural precast con- crete and masonry, have required little maintenance over time.
College administrators at- tribute much of the success of MDCC, which now has five cam- puses and 125,000 students, to the architects and engineers whose "excellence" played a leading role in the college's growth and expansion. ♦
Shmled campus walk. Photograph: Spillis Candela Aivhives
JURY: ...a master plan that clearly sets the standard for comttiu- nity colleges and has continued to influence campus design. The buildings and their e.rterior spaces are extremely effective in pro- viding shade and natural ventilation... The buildings' handsome articulated vocabulai-y creates a revealing honesty which has re- sulted in a certain timeless quality... .an important e.rample of Florida architecture which .should continue to function success- fully for many generations to come.
|
II |
1 TOTAl CAMPUS PLAN
FLORIDA/CARIHBEAN ARCHITECT FaU 1997
Learning Resources Center. Photograph: Spillis Candela Archives
21
AIA/Puerto Rico
199! Test of Time Award
Pine Grove Apartments
San Juan, 1960-62
Augusto Gautier, AIA, and Hector Llenza, AIA
Jiirv nienibere Peter Waldman,
25 Years
'AIA, and Enrique Norten, Hon. AIA, se- lected these apartments for the AlA/Puerto Rico Test of Time Awaid. It was designed in 1960-62.
Dealing with a narrow ocean- front lot with deep sides, the ar- chitects "democratized" access and gave every apartment an ocean view by using a round shape for the dwellings. The building design took the form of three drums tied by a central open-au" lobby, creating a clover- leaf arrangement. Staggering the cloverleafs along the lot en- hanced each ocean view.
Stairs in the open-air central lobby wind around cylindrical shafts which separately house the elevator and incinerator. The circular composition is further established and animated by these sculptural service ele- ments. ♦
JURY: Arrhitcctiire as physical and social engineering is bril- liantly demonstrated in this example of the influence ofLe Corbusicr's Radiant City on New World housing. This apartment complex demon- strates a dramatic structural effort offering a dense but democratic approach to the desired oceanfront orienta- tion. The core of each cloverleaf group arrangement provides a generous open-air vestibule for social interaction, centered realistically around the kitch- ens, ivith supervised play ar- eas for children.... Tliere are no frontalities, no hierarchies in this "island" scheme, perhaps appropriaiefor a search for an island essence by one prefer- ring to dwell in the midst of a pine grove ratlier than engage the agenda of dwelling in a political setting at the edge of the ocean.
Above: Stairs in the open-air central lobby wind around cylindrical shafts. Photograph: Carlos Esteva
Left: Round-shaped dwellings and the o-eation of a series of cloverleafs made it possible for every apartment to have an ocean view. Photograph: Carlos Esteva
22
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FLORllWCARIBBEAN ARCHITECT Fall 1997
23
83
Annual Conv
N
I o N
i
THANK YOU!
AIA Florida Salutes The Exhibitors and Sponsors of The 85th Annual Convention!
i:
EXHIBITORS
ARRISCRAFT INTERNATIONAL/ WILLIAM M, WOOD COMPANY
ASI SIGN SYSTEMS
ASSOCIATED COST ENGINEERS, INC.
BAKER MELLON STUART
GARADCO WOOD WINDOWS AND PATIO DOORS
CHICAGO METALLIC/INTERFINISH
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COLOROC MATERIALS. INC.
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CSR RINKER MATERIALS
DALTILE
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DIGITAL MANAGEMENT SYSTEMS
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FLORIDA LIABILITY ASSURANCE GROUP
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GERARD ROOFING TECHNOLOGIES
GLASS MASONRY, INC.
GRAPHISOFT
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HONOR AWARDS RECEPTION
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FLORIDA NATURAL GAS ASSOCIATION
Supporting the use of natural gas systems in commercial, residential and industnal applications.
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64-31
AIA Florida
1997 Unbuilt Design Awards
Atlantic House
Key Biscayne
Castineira + Axioma_3 Architects
JURY: Clearly the most sophis- ticated and beautifully de- tailed and organized of all the houses presented and con- sidered....seenis to combine the qualities of mass that we ap- preciate in certain traditional architecture with freedom of plan and disposition of open- ing and aperture that came with the development of mod- em architecture. The plan shapes space vigorously. . . takes advantage of the Florida cli- mate by allowing ventilation to move through certain eleva- tions while other facades... block out the sun. Tlie project stands out as being done by someone who really applies a rather rigorous set of rules to the work... ♦
Tampa Police Department District Substation
Photograph: Raymond Martinot
Tampa
Alfonso Architects
JURY: Tliis project clearly had to generate its oum intentions because of little natural envi- ronment to play off of... likely has risen way above the expec- tations of its client, which is always a great compliment to the architect... addresses its neighborhood in something other than the typical institu- tional, forbidding manner, and clearly looks more fun than what one would expect from the typical suburban po- lice station... The organiza- tion is generated by an axial bar that runs through the middle, and any Junction that could be identified as some kind of special piece ivas pulled out to play against the central element... ♦
26
FLOIUD.VCARIHHEAN AKCIIITECT Fall 1997
AIA Florida
Hillsborough Community College Public Service Technology Building
Ybor City Campus, Tampa
Flad & Associates, with Alfonso Architects
JURY: Extremely comfortable solution within the historic district of the Ybor City con- text...presents a sensitive bal- ance of more traditional archi- tecture with the more modern interventions.... This extremely stmightfommrd set of buildings pui-posety doesn't impose an institutional, image on a neigh- borhood in the delicate stages of coming back. Some of the eleva- tions are quiet in a good urban sense, with references to the many industrial images in the neighborhood as well as othe7- important classical buildings. The design team and client sliould be ap'plauded for getting back to the traditional brick vo- cabidary, which has been dis- carded by many less successful contemporary neighboring buildings. ♦
□
m^^^^m
I
Windsor Town Center
Post Office, North Residential Tower, and Store Loggia from the South.
FLORIli.VCAKlBBK.W ARCHITECT Fall 1997
Beh'edere Square, Vero Beach Scott Merrill
JURY: Classical, regional solution with a modern plan. Tlie urtan spaces maintain a degtveof con- sistency while the individual buildings assert their own pn sdnality. ..a soph isticated com- bination of pu 1)1 ic spaces consist- ing of varying ground planes with successful spatial transi- tions between them. One never quite sees a single bu ilding as an object but mthera set ofintetiock- ing facades, paitiaily obscured by one another, creating a strong sense of place.... Ttiis project is. ..more about thescale of tlie pedestrian and the move- ment through .spaces which will undoubtedly create a rich social place.... i)er.spectives create a contpelling atmosphere with a strong spirit. ♦
27
VIEWPOINT
How I Learned to Spell Architecture....
By Gconjc A. Allen, Hun. AlA
Wlu'ii I was hired to be the AIA Florida executive \'ice president 18 years ago, I would jokingly tell people that I didn't even know how to spell "archi- tecture." In my head, I knew I could manage the association, but in my heart I knew I had a lot to learn about architects be- fore I could represent them. Now I am no longer in the posi- tion, and the new chief execu- tive officer will be finding his way.
I don't know what motivated Carl Gerken, Bob Graf and Howard Bochiardy to give me the job. I was in my thirties then and ambitious to lead an orga- nization. I had studied and trained to do this for many years. Perhaps my boast that I expected to be the "best asso- ciation executive in the state" got their attention. Or perhaps it was my sincere desire to make things work or, maybe, my hon- est face. It certainly was not my knowledge of the architectural profession. In fact, I only knew one architect, John Barley, and I didn't know what he really did. He happened to be the person who told me about the job in the first place, but that's another story.
pack up the office in Miami and move it to Tallahassee. The sec- ond part of the assignment was to find a building in Tallahassee which the association could piu'- chase as its headquarters.
Moving the office was hard work, but there was certainly nothing architectural about it. It was 1979, and the biggest con- cern in those days was finding enough gas to get you through the week. In my case, it was finding enough gas to get out of Miami and drive nine hours to Tallahassee. It is hard to imag- ine what we went through in those days, the lines of cars that formed every morning at each gas station, the signs that ap- peared at 10 or 1 1 a.m. indicat- ing there was no more gas. Somehow, we found the gas and made it home, but it took a friendly gas station owner who listened to my sad story to make it happen. At the time, I didn't even know an architect in Miami on whom I could call for help. Today, I am glad to say that some of my best friends are architects in Miami who would gladly pitch in to help in any way necessary.
Finding a building to serve as the association's headquarters was an organizational thing. It
My initial lesson in learning about architecture and architects evolved from my first major assignment as executive vice president.
My initial lesson in learning about architecture and archi- tects evolved from my first ma- jor assignment as executive vice president. It had been decided before I was hired that the head- quarters of AIA Florida would be moved from Miami, where it had existed since the fifties, to Tallahassee, where aU the action was, as far as state goven^ment was concerned. My job was to
was much like finding a house for one's family. But, it was an architect who led us to 104 East Jefferson Street. Rick Barnett and Dave Fronczak were just getting started in Tallahassee as a branch offic'e of the Tampa- based firm, Rowe Holmes Archi- tects, and they were involved with the Gallie Hall Partnership. Rick and Dave and a group of attorneys had decided to reno-
vate a century-old building com- plex in the heart of downtown Tallahassee. The financial num- bers weren't working out, so they decided to sell a small por- tion of the Gallie Hall complex that had been the Putnam Jew-
spent several more weeks find- ing a way to get rid of it.
Nevertheless, while the de- sign was not acceptable, the firm that submitted it was just what everyone wanted. Harper Buzinec Architects of Coral
It was at this point in my career that I began to find out how architects work and ivhat they go through to complete a project.
elry Store building. Rick came into my temporaiy office one day and asked if we were inter- ested. I knew it was the perfect location, and it didn't take much convincing to get the executive committee to buy the property.
It was at this point in my ca- reer that I began to find out how architects work and what they go through to complete a project. Rick and Dave had al- ready prepared a schematic de- sign of exactly what the build- ing would look like, complete with an interior layout and el- evations. I thought this was a great leap forward in the pro- cess, but I was to learn my first lesson: Architects do not do any- thing the easy way, even if it makes terrific sense. The thought was that this building was far too important for an or- dinary design, and that only a statewide competition would produce the right firm and the right design.
Mark Jaroszewicz, who at that time was a relatively new Dean of the College of Architec- ture at the University of Florida, was appointed to chair the de- sign competition. He did so with great professionalism and speci- ficity to detail, and it was the most even-handed process I had ever observed. It also took months to accomplish. And when it was finished none of us liked the winning design, so we
Gables was just getting started. They were a relatively new fimi, yet the principals came from good firms, which gave commit- tee members confidence that they could do a good job. In fact, they liked them so much, the fee negotiations resulted in a 15 per- cent top-of-the-scale fee. I was shocked, but I learned my next lesson: Architects like big fees, even when they are paying it themselves.
At this point, I was beginning to wonder whether we would ever move into 104 East Jefferson Street. We had spent months on getting what I thought would be a design, only to find that we were really just involved in hiring an architect. John Hayes, who had worked for Bob Graf and was now work- ing for David Harper, was as- signed to be the project archi- tect. A kinder more patient man you would never want to meet. His patience was perfect for the job because the actual job of design fell to the members of the executive committee. First they ripped apart the Harper design, and then they ripped apart ev- ery other proposal that came before them. Lesson number three: Architects are very touchy when it comes to design- ing buildings.
By tliis time, Ted Pappas was the president-elect, and he be- gan to assert his leadership in
28
FLORn).Vi:.\RIHHK.\.N .M-iCHITECT Fall 1997
the design charettes, which moved from one hotel room to another as the committee struggled to find a solution. Silly me, 1 thought, as the user of the building, 1 would be consulted as to how the building was de- signed. Ever so patiently, I was told that I would be consuhed, but only up to a point.
1 was allowed to talk about how an association functioned in a building, but as to layout, it was best for me to accept the architect's solution. And for the most part, 1 did, even though Ted and I had some intense discus- sions about work stations. ..he wanted them smaller, I wanted them larger. But I also learned that architecture is a team sport. In the AIA headquarters, you can see who the team leader was, but I always knew that Charles King, who worked in the Pappas office, played a big role, as did other members of the executive committee at the time, Glenn Buff and Jim Anstis.
Getting through the design phase was a challenge, but ac- tually constructing the building seemed to be an even bigger task. Most people, including me, do not appreciate the enomious amount of detailed planning that goes into working drawings and specifications. I was introduced to this during the project, and I later came to understand the huge importance that these drawings and specifications play in the successful construc- tion project. But, before we could even get underway, John Hayes prepared the "as built" drawings, and in the course of
doing measurements, he found that the surveyor had indicated the wrong dimensions of the building. This, of course, re- sulted in several more weeks of delay as the attorney got in- volved and adjoining property owners had to sign off on the corrections.
Well, needless to say, the building was constructed, and
with it, a very important element of my architectural education was completed. As I think back to those days, I cannot help but continue to feel eternal grateful- ness for the wonderful patience and kindly forbearance which Carl, Ted, Bob, Howard, Glenn, John, Jim, and all the rest pro- vided me in those early years. It was hard work, but it was the
start of a wonderful, fulfilling time for me and my family that we will always remember and hold onto for the rest of our lives. ♦
George A. Allen, Hon. AIA, stepping down as Executive Vice President of AIA Florida after 18 years, has opened his own consulting f inn.
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KLdKin.VC.SKIl'.HK.S.S .VRCllITKCT Fall 1997
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H.llKll).V(:.\Rllilil;.\N .VKCIMTKCT Fall 1997
INDEX TO ADVERTISERS
Buyers' Guide
Architectural Design
Design Works Creative Partnership Ltd 17
Architectural Photography
Architectural Photography Inc 29
Chroma Inc./George Cott 9
Architectural Rendering
Genesis Studios, Inc OBC
Artificial Thatched Roofs
Tropic Top/Symbold 2
Building Materials
CSR Rinker Materials 10-11
Building Products
Aluminum Sei^vices, Inc 19
CADD
hitergraph Corp 2
Claims Control
Associated Cost Engineers 30
Concrete
Y-Tong IBC
Construction Claims
Project Development International, Inc 23
Construction Management
Project Develojiiment International, Inc 23
Construction Manuals
Florida Wood Council 29
Continuing Education
Trus Joist MacMillan 18
Cost Estimating
Associated Cost Engineers 30
Crushed Stone
Conrad Yelvington Distributors 7
FI.OKIII.VCAKIIIHKAN ARCIIITKCT Fall 1997
Design Software
Intergraph Corp 2
Doors & Windows
Window Classics Corp 5
Drafting Services
Intergraph Corp 2
Drapery Fabric
Carnegie Fabrics 6
Energy Technology
Florida Natural Gas IFC
Engineered Lumber
Trus Joist MacMillan 18
Design Professionals Safety Association (DPSA), which provides workers compensation insurance and loss control education to architects, engineers and similar groups, has announced that it will pay premium returns of up to 40% to its members in 1997.
For more information about this group, please contact your local agent or program manager below:
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2101 BUSINESS CENTER DRIVE, 230 IRVINE, CA 92612 (888) 377-2107
i
31
INDEX TO ADVERTISERS
Buyers' Guide
Glass Blocks
Glass Masoni-y Inc 30
HVAC
Florida Natural Gas IFC
Insurance
AIA Trust 7
Aris Insurance Services 31
CoUinsworth, Alter, Nielson, et al 18
Seitlin & Company Insurance 25
Suncoast Insurance Associates, Inc 25
Interior Design
Design Works Creative Partnership Ltd 17
Masonry Sand
Comad Yelvington Distributors 7
Natural Gas
Florida Natural Gas IFC
Photography
Chroma Inc./George Cott 9
Professional Liability
CoUinsworth, Alter, Nielson, et al 18
Sedgvnck of Florida Inc 2
Seitlin & Company Insurance 25
Suncoast Insurance Associates, Inc 25
Project Scheduling
Associated Cost Engineers 30
Risk Management
Sedgwick of Florida Inc 2
Roof-Tile
Masterpiece Tile Co 30
Roofs/Artificial Thatch
Tropic Top/Symbold 2
Sand & Gravel
Conrad Yelvington Distributors 7
Spiral Stairways
American Ornamental Corp 23
32
Upholstery Fabric
Carnegie Fabrics 6
Wall Fabric
Carnegie Fabrics 6
WaterfaUs/Ponds & Rock Formation
Tropic Top/Symbold 30
Windows & Doors
Ricketson Sash & Door Company Inc. ... 18 Window Classics Corp 5
Wood Windows & Doors
Ricketson Sash & Door Company Inc 18
Workers Compensation
Alls Insurance Services 31
ALPHABETICAL INDEX TO ADVERTISERS
AlA Trust 7
Aluminimi Services, Inc 19
American Ornamental Corp 23
Architectural Photography Inc 29
Alls Insurance Services 31
Associated Cost Engineers 30
Carnegie Fabrics 6
Chroma Inc./George Cott 9
CoUinsworth, Alter, Nielson, et al 18
Conrad Yelvington Distributors 7
CSR Rinker Materials 10-11
Design Works Creative Partnership Ltd 17
Florida Natural Gas IFC
Florida Wood CouncU 29
Genesis Studios, Inc OBC
Glass Masonry Inc 30
Intergraph Corp 2
Masterpiece TUe Co 30
Project Development International, Inc 23
Ricketson Sash & Door Company Inc 18
Sedgwick of Florida Inc 2
Seitlin & Company Insurance 25
Suncoast Insurance Associates, Inc 25
Tropic Top/Symbold 2,30
Trus Joist MacMillan 18
Window Classics Corp 5
Y^lbng IBC
FLORll),Vr..\RIHHi;,\N.\K(:lllTl-:(:T Fail 1997
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225 S. Swoope Avenue, Suite 205
Maitland, Florida 32751 407-539-2506
800-933-9380 FAX 407-6447901
www.genesisstudios.com
Portofino Bay Club, Subic Bay, Philippines
Architects: HHCP Design International, Inc.
64-24
FLORIDA/CARIBBEAN ARCHITECT
December 1997
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How Do You Keep A Hockey Player Cool In Florida ?
(.and still save on operating costs?)
When the Ice Pilots moved to Pensacola, the Civic Center had to make sure the existing ". air conditioning system could handle the new ice rink requirements. Uncontrolled humidity levels could result in fog over the ice, condensa- tion in the building, and could affect the com- fort of players and spectators.
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(V) Munters
L electric units and have a lower operating cost in these condi- tions.
Natural gas cooling. It's the cost effective way to cool and
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Tlie 200,000 sq. ft.
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70° day in order to maintain 65° F dry bulb and 50% relative humidity. Four
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and $35,000 per year in operating costs.
For more information on gas-fired desiccant, engine driven, or absorption units call your local gas company.
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FLORIDA NATURAL GAS ASSOCLVnON
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CONTENTS
FLORIDA/CARIBBEAN ARCHITECT
December 1997 Vol. 44. No. 4
Cover:
Ramp to Plaza at Cundinama)va Provincial Capitol Complex; Santafe de Bogota, Colombia, Alfredo Miifioz y Cia., Bogota, and VOA Associates, Orlando. Photograph: Fernando Revollo
Working Outside the Region
a QF FLA. U;Q?vARlES
Features
Paul Rudolph, 1918-1997, A Remembrance 10
This giant of American architecture, who died in August, is remembered by Tim Seibert, AIA, one of many Florida architects who started their professional lives with Paul Rudolph as a mentor and inspiration.
Setting the Stage for Fun and Romance 12
Fugleberg Koch Architects approached Le Coco Beach and Sugar Beach, two distinct resorts on Mauritius, by researching the island's natural assets, its global identity, its competitive inventory, and its history.
Imagination: The Key to Global Markets 14
HHCP Design International boasts a growing reputation in the international leisure and hospitality industry for imaginative design and the capacity to bring extraordinary projects to life.
Good Old-fashioned Modernism 16
By disarming disapproving neighbors uith a design that opened its anns to them and respected their California community and environment, Frank Folsom Smith, FAIA, and his clients managed to earn their compliments and acceptance.
New Identity for a Historic Region 18
In designing the interior public spaces of the new provincial Colombian capital for Cundi)iamarca, VOA Associates incorporated a sophisticated blend of regional references, from rustic stone arches and pyramid constriicti on to colorful pavements and poster walls.
Ancient Stones Tell a Tale for Today 22
Diane Greer will guide a CE course for architects to explore some of the Maya's secrets of building for a hot, humid climate.
Departments
Editorial
News
New Products
Viewpoint
By Tom Munsou
Viewpoint
By Benjamin Vargas, AIA
Index to Advertisers
3
4
8
24
26
30
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EDITORIAL
FLORIDA/CARIBBEAN ARCHITECT
Florida Association of the American Institute of Arcliitects
104 East Jefferson Street Tallahassee, Florida 32301
Editorial Board
John Totty, MA, Chaimian John Howey, FAIA Karl Thome, AIA
President
John R. Cochian, Jr., AIA
Vice President/President-elect
Roy Knight, FAIA
Secretary/Treasurer
Vivian Salaga, AIA
Past President
William Blizzard, ALA
Senior Regional Director
Henry C. Alexander, Jr, AIA Coral Gables
Regional Director
John P. Tice, Jr., AIA Pensacola
Vice President for Professional Excellence
Ivan Johnson, AIA
Vice President for Political Effectiveness
Debra Lupton, AIA
Vice President for Communications
Keith Bailey, AIA
Executive Vice President
F. Scott ShaUey
Editor
Margaret Barlow
Published by
Dawson Publications, Inc. 2236 Greenspring Drive Timonium, Maryland 21093 (410) 560-5600 (800) 322-3448 Fax:(410)560-5601
Publisher
Denise Rolph
Sales Manager
Dave Patrick
Layout & Design
Amy King
Florida/Cnribbean Architect. Official Journal of the Florida Association of the American Institute of Architects, is owned by the Association, a Florida Corporation, not for profit. ISSN-0015- 3907. It is published four times a year and distributed through the Executive Office of the Association, 104 East .lefferson St., Tallahassee. Florida 32301. Telephone 904/222-7590. Opinions expressed by contributors are not necessarily those of AIA Florida. Editorial material may be reprinted only with the express pemu.ssion of FloridaJCaribbenn Architect.
Single copies, .$6.00; annual subscription, .$20.33, Third class postage
i;
t appears that several aspects of Florida's unique personality — tourist magnet, multicultural society, and modernist mecca — have fostered a global presence for the state.
From its history and exi^erience as a sun-drenched destination for year- round beachgoing, sports, and fun, a mighty architectural export has de- veloped. Hospitality and leisure projects encompassing a broad spectrum are as varied as the far-flung spots where they are being developed — by Florida-based Anns. Having cut their teeth and developed their metier here at home, in one of the most competitive leisure markets, a nuntber of Florida firms are seeking challenges and finding great success in the glo- bal marketplace.
In this issue we sample the international work of just three firms: Helman Hurley Charvat Peacock/Architects Inc. (HHCP) and VOA Associates, both Orlando-based, and Fugleberg Koch, Winter Park. Also featured is a residence by Sarasota architect Frank Folsom Smith, FAIA, in a not-so-foreign but perhaps somewhat alien location: California. In the case of HHCP, a 25-year old firm with a solid reputation stateside, it was the vision of one of its younger architects that was behind what is now its international division. HCCP International's work is now being seen from China to Italy to Turkey and the Phihppines, in theme parks, resorts, and enonnous multi-use complexes that are practically commimities in themselves.
Fugleberg Koch has completed nimierous overseas projects, but here we present two resorts on the island of Mauritius. It is interesting to see how the firm approached the two properties, which actually compete in their market. By theming one as a color- ful spot for family fun and the other as a historic village that reflects the region's archi- tectural and colonial heritage, both are winners.
Two Viewpoints tackle the tricky subject of how U.S. practitioners can succeed in business in Latin T^ierica and the Caribbean. Architect Ben Vargas, AIA Puerto Rico, and Tilden Lobnitz Cooper engineer Tom Munson may have different points of view, but both have wdsdom to share.
Both also note that our region's architectural profession, like its population, has a decidedly multicultural character The abiUty to bring U.S. technology— in Spanish — to Latin American cUents has opened the door for countless outstanding projects. VOA Associates' recently completed interior of an extensive provincial capitol complex in Colombia, facilitated by bilingual Project Manager Hernando Gomez, AIA, is a good illustration. Completion of this multifaceted project in what amounted to record time required a deep imderstandmg of local culture as well as the ability to negotiate suc- cessfully with local officials, teams of construction professionals, and crew members. During the Awards Presentation at the Oriando Convenfion, Peter Hepner, ALA., noted the passing of one of Florida's most celebrated architects, Paul Rudolph. Rudolph, who died August 8, in New York, had been the spuit and inspiration behind the 1950s mod- ernist movement in the state that became known as the Sarasota School of Architec- ture. In 1989 ALA Florida honored Rudolph with its Gold Medal for Architecture. Tim Seibert, ALA, who as a young architect had the good fortune to work with Rudolph, has written a remembrance.
Frank Folsom Smith, FAIA, was another Rudolph protege. His residence for an ex- Floridian moved to CaUfomia retains that modernist spirit. Even though the language of negotiation was English, the experience of transplanting a Florida-style tin roof and building near an earthquake fault gave the project a slightly exotic flavor MB
Florida/Caribbean Architect serves the profession by providing current infomiation on design, practice management, tecluiology, envirormient, energy, preservation and development of communities, construction, finance, economics, as well as other political, social, and cultural issues that impact the field.
FLORIDA/CARIBBEAN ARCHITECT December 1997
NEWS
School Construction Headed for a $2.7 Billion Upswing
By George A. Allen, Hon. AIA
Florida lawmakers approved a whopping $2.7 billion in public school construction during November's week-long special session in Tallahassee. The money should statt flowing to the local school districts within a few months, bringing an esti- mated $15(i million in architect/ engineering fees from a 30-year bond issue supported by a yearly allotment of $180 million from the lotteiy
Wliile the Legislature did not come up with the more than $3 billion that Gov. Chiles said was needed to deal with school over- crowding needs, the aniomit was close enough to bring the House and Senate together after a week's worth of wrangling over how the money would be dis- tributed. About half of the fmids will go to five urban counties, Broward, Dade, Hillsborough, Orange, and Palm Beach.
Included in the legislation were some new wrinkles impact- ing design and construction, which lawmakers said were needed to provide incentives to build more frugal schools. Termed the SMART Schools Pro- gram for "Soundly Made, Ac- countable, Reasonable and Thrifty," the Legislature wrapped its priorities for Classrooms First, school district facilities Work Programs, a SMART Schools Clearinghouse, the Ef- fort Index grant, and the School Infrastructure Thrift (SIT) pro- grams into a neat package to dis- burse about $(500 million. An- other $.50 million was set aside for rural school systems, $3L5 million for school supplies, and $16 million for a model middle school.
New oversight and incentives for school districts is a big part of the new legislation. The SMART School Clearinghouse was established to assist school
districts in accessing the SIT funds and other awards. The Clearinghouse will include fom' appointees with substantial busi- ness experience, selected by the Governor, Speaker and Senate President, who will sit with the Commissioner of Education to determine design and perfor- mance standards for school buildings.
The Clearinghouse will es- tablish a "SMART schools de- signs directory" listing certified designs, which will be included in an on-line directory to be used by school districts to qualify for funding awards. For aichitects, this will be an additional way for their successful projects to be promoted to school districts statewide. The Clearinghouse group will be encouraging dis- tricts to use the designs that fit their needs by paying for some of the construction costs.
The Clearinghouse will con- duct a statewide search for school designs that meet design and construction standards re- lating to costs per student sta- tion, maintenance costs, utility costs, and network-related costs. To have a design "certified" for SMART schools reuse, designers will be required to correct any deficiencies determined from actual use or to modify designs to meet current standards. The selection process used for ap- proval of a SMART school design and its inclusion in the directory will satisfy selection require- ments called for in the Consult- ants Competitive Negotiation Act.
Another part of the legisla- tion delegates authority to the Department of Management Ser- vices to establish state tenn con- tracts for design and construc- tion services for SMART schools. There is also a strong encomage- ment for any school district us- ing a SMART school design to use the DMS project delivei-y sys- tem. Because firms in the private sector also provide these ser- vices to school districts, the question was raised by AIA
Florida lobbyists as to whether this activity was moving the state government closer to a competi- tive position with the private sec- tor using the unfair advantage of tax dollars and state authority.
This will undoubtedly be re- viewed by the ALA Florida Politi- cal Effectiveness Team as it de- velops the legislative program for the 1998 legislative session.
Giller Celebrates 50 years of AIA Service
Norman M. Giller, FAIA
It was 1947 when Nonnan M. Giller, FAIA, became a member of the American Institute of Ar- chitects. Since then, he has been a continuing member, active in the Miami Chapter as well as AL\ Florida. In 1984 the College of Fellows, AIA, elevated him to their ranks.
Over the years, Giller served as director of both the Miami Chapter and the State Associa- tion, and held membership on nvunerous national committees. During his 1974 presidency of the Miami Chapter, he activated Architectural Week to make the public aware of architecture in the community. In the early 1980s he was awarded the pres- tigious AIA Silver Medal in rec- ognition of his service to the community, and in 1983 the Florida Legislature named a ma- jor bridge over the intercoastal waterway in his honor.
Giller, a native Floridian, graduated from the University of Florida in 1945, while still serv- ing in the LT.S. Navy. He was the only architecture graduate that year.
His designs can be seen in Florida as well as in New York, Georgia, New Mexico, and else- where. Over his long career, Giller has received many design awards, here and overseas. In 1961 his was the first architec- tural firm selected by the U.S. Department of State to be charged with the Alliance for Progress program in several Latin American countries. Dur- ing the 1980s he was appointed by Governor Graham to the State Board of Architecture, where he served as chairman; he also sei-ved with NCARB, includ- ing a stint as secretary of the southeastern region.
Of Note
R.J. Heisenbottle Architects, P.A., Coral Gables, has received an Honor Award from the Na- tional Trust for Historic Preser- vation for the Miami Edison Middle School Restoration and Expansion Project, in Miami. The firm rehabilitated and ex- panded a 1920s high school building, restoring historic fea- tures and creating a cohesive 135,000 sf facility capable of serving students and the com- munity into the next century.
AIA Puerto Rico: Architectural Jewels
Emphasizing the idea that "histoiy is not an impediment to architectural progress," AIA Puerto Rico honored three buildings on the island with the Test of Time award as a way of symbolizing the implicit value of timeless architecture. The award distinguishes buildings that, after more than 25 years are still being used as originally intended and remain a source of architectural inspiration.
FL(5RJD,Vl'.ARIBBE.\N .VRCllITECT December 1997
NEWS
This year's awards were pre- sented to Osvaldo Toro, FAIA, and Miguel Ferrer, FAIA, for the Supreme Court building, San Juan, built 1953; Edward Dunell Stone, FAIA, and Carlos Sanz, FAIA, for the Museo de Arte, Ponce, built 1961; and Horacio Diaz, FAIA, for the First Baptist Church, Cagual, built 1965. Owners as well as architects re- ceived certificates. It was noted that each of these buildings is owned by an institution that has taken pride in the institution it sponsored and built and has kept its image "as an easily iden- tifiable civic gesture to the gen- eral public."
Board member and past president Benjamin Vargas, AIA, spoke at the ceremony on the importance of maintaining a sense of history through ar- chitecture. He told the group, "A familiarity with these build- ings which represent inspired solutions to timeless architec- tural problems is essential for the successful development of a late-20th-century architec- ture." Vargas added, "It is ab- surd to ignore — for ideological or merely because of superfi- cial changes in fashion — the vast repository of architectural inspiration and ideas repre- sented by buildings of our re- cent past."
Vargas noted AIA Puerto Rico's concern over the winning proposal to buy the "Condado Trio," which entails demolishing the San Juan Convention Center (1972) and La Concha Hotel (1959), and converting the Condado Beach Hotel (1919) into condominium units. "As ar- chitects," said Vargas, "we rec- ognize the need for these structures to become economi- cally viable and in tune with new developments in the tourism in- dustry." However, he added, "It would be inexcusable to demol- ish or hopelessly alter the soul of these structures — the lobby and salons at the Condado Beach, the great elevated gallery overlooking the sea at the Con-
vention Center... and the unique thin-shell structure on the beach that gives La Concha its name and is a product of our own ar- chitectural mastery."
In awarding Test of Time rec- ognitions, AIA Puerto Rico hopes to call attention to the value of maintaining good works of architecture that "have been the backdrop to thousands of local stories and memories."
In Memoriam
Carl L. Feiss, FAIA, died at his home in Gainesville, on Octo- ber 10. On the University of Florida faculty from 1971 until his retirement in 1987 as Professor Emeritus, he taught architec- ture and planning and for many years headed the Urban Devel- opment Center there. Feiss was an early advocate of historic preservation and was influential in framing 1966 federal legisla- tion as well as in developing means amd methodologies still in use. He was 90.
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FL( )I<II).V( ;.\KIIUil-:.\\ .\RCHITECT December 1997
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1998 Calendar
March/Spring: School Design ( K- 1 2. postsecondary) (submit by January 1998)
June/Slimmer: Public Buildings (government buildings.
churches, libraries, etc.) (submit by April 1998)
Scplcmher/Fall: AIA Florida Honor Awards
Dcci'inhci/Winter: Work by Women Architects
(submit by September 1998)
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Paul Rudolph, 1918-1997, A Remembrance
hfj Edward J. Seibert, AIA
Paul Rudolph opened his office in 1952 in Sarasota, and quickly became established as a designer of small elegant houses, many of them built on Siesta Key. The work of those early years later was dubbed the "Sarasota School of Architec- ture." These small jewels of architecture had a clarity of concept and romantic, some- times heroic, spaces. They were well suited to Florida's light and climate, especially before air conditioning became common. Rudolph's early work has influenced architects in Sarasota and throughout the state. A number of arcliitects, some still practicing here, started their professional lives with Paul Rudolph as an employer, mentor, and inspiration.
In 1957, largely because of liis reputation for the work of Ills Sarasota office, Rudolph was appointed chairman of the School of Architecture at Yale University, a post he held until 1965, when he moved to his spectacular multileveled studio on Beekman Place in Manhat- tan. Wliile chainnan, he wielded enormous influence in the direction of American architec- ture, and in those years, perhaps except for Louis Kalm, no architect then enjoyed higher esteem among arciutects and critics than he. In 1963 Rudolph designed the Art and Arcliitec- ture building at Yale. It was considered a landmark for liis years there, not solely for the strength of its design but as a symbol of campus mirest in the sixties. Regarding the building's design as a symbol of the imiversity's disregard of student interests and creativity, a group of students set fire to it. The buUding was restored, and perhaps in later years it was those same people who becEime the disciples of the meretri- ciousness of Postmodernism.
Throughout the more than 40 years that I knew Paul, I always saw a development of the work that he started in the
Bond Centre, Hong Kong, 1989. The octagonal office and hotel towers, with their distinctive sculptural interlocking of floors, are a downtown landmark. Photograph: © Peter Aaron/Esto
1950s. 1 beUeve him to be a great contemporary, his work the logical conclusion of the Early Modern, Bauhaus, Russian Constructivist, and Late Modem. In the body of his work can be seen a steady, consistent, honest develop-
ment of ideas, influenced as they are by Wright, Corbusier, Baroque, and High Tech. He never pandered to the media, never tried for those outra- geous statements that get temporary media notoriety. Sybil Moholy Nagy said of
Rudolph's work in 1970 that it was an "architecture that is more than the sum of Euro- pean influences . . . experimen- tal, contradictory, competitive, and bigger than life."
A stubborn, committed, solitary artist-architect.
10
FI.()RI[);VCAiyUBEj\N ARCHITECT December 1997
Rudolph fell into disfavor with the architectural media in the seventies, as Charles W. Moore, Michael Graves, Robert A.M. Stern, Vincent Scully, Robert Venturi, and others promoted what 1 believe may well be a less rigorous philosophy of design, one which turned toward historical mixtures. It was an architec- ture which was easier to master, and which the less talented could easily copy with commercial success. As with Frank Lloyd Wright, Rudolph is difficult to copy well.
In recent years Rudolph's practice was largely centered in the Far East, in Jakarta, Hong Kong, and Singapore. In the fifties he had shown me a rough sketch of a building with a fi-ame into which prefabricated living units could be hoisted into place. He said then that the mobile home industry should learn to make the units — "20th- centuiy bricks," he called them. With wealthy Chinese and Indonesian developers he was now able to design mban megastnictures such as the Bond Centre in Hong Kong and the Dhamiala Sakti building in Jakarta, buildings in which he used the aesthetic of the prefabricated capsule inserted in the megastnicture. These are buildings where he also was able to work with the problem of their relation to the broader urban framework. Perhaps on his next project, he might have developed details of the "20th- century brick" that had inter- ested him for so long.
Paul Rudolph worked in energetic solitude, turning out buildings of consistency, clarity of concept, romance, and passion. In 1989 Philip Johnson said of Paul, "1 don't know any other airhitect in this coimtry who is so off by himself emd so successful." Toward the end of his life students again discov- ered Rudolph and found in him a hero. In 1993 he lectured to a standing-room-only crowd of
mainly yoimg enthusiasts at the Cooper-Hewitt Museiun in New York, holding his audience spellboimd, as if he were a visitor from some aichitectural golden age of long ago. Perhaps his audience had become fed up with sUck designer label architects who never went near a drawing board, vidth the architectural and fashion media Postmodern polemic, fashion and hyjDe. Rudolph, in his seventies, represented to idealists the architect as a hero. One can see in his life's work dedicated, logical architecture, driven by liigh piupose.
In cdl the years that I knew Paul Rudolph, he always personally did every design, in all detail, that came out of his office. I know that for many years all the delineation was in his own hand. I tliink he foimd the drawing boaid a jealous mistress, and beUeved that those that may abandon it may become fakes. Paul Rudolph was the real thing. His now famous and much copied style of ink on illustration board delineation he taught hmiseif. It is a painstaking, intellectual,
demanding, elegant style. Paul felt that renderings could be an ait fonn in themselves, having little to do with the building, but being rather an abstraction of it. The only work that draftsmen ever did on delineation was to erase the smudges, pencil lines, coffee stains and dirt from the finished (hawing. Rudolph's attention to design in all its detail was evident right up to the end, when he was still redlining working drawings in detail for a project in the Far East.
Paul was generous with time he spent with architects that he found dedicated to architecture. He did not suffer fools gladly, and his criticism could be devastating, although always fair and useful. I recall the lessons he taught us, and use them often, finding pleasure in the remembrance.
From 1943 to 1946 Rudolph was in the Navy, supervising shipbuilding at the Brooklyn Navy Yard, at which time he discovered the use of plastic material called cocoon, used to protect ships that were laid up. He subsequently used this material for the roof of the
Healy Guest Cottage in 1952. 1 suppose that it was during his shipbuilding years that he got asbestos in his lungs, from which he recently tiled, on August 8, 1997.
In the years that come I believe Paul Rudolph's legacy will become better understood and that in his place in the history of architecture, he wiU stand with such greats as Mies, Corbusier, and Wright. ♦
Edward J. "Tim" Seibert, AIA, began his practice of architecture in Sarasota in 1955, in the office of Paul Rudolph. In 1995 he received the AIA Florida Award for Honor in Design.
For further reading, check out Tlie Architecture of Paul Rudolph (1970); Paul Rudolph (1971); Yukio Futagawa (ed.), Paid Rudolph Architectural Lhnwings (1981); and Jolui Howey, 77k? Sarasota School of Architecture, 1941-1966 (1995), which contains a
r bibliography.
f
Umbrella House, Lido Shores, Florida, 1953. Described as a "very Floridian house." its balconies, breezeway bridge, and wood-slat roof introduced natural cross-ventilation, cooling, and shading. Photograph: Ezra Stoller © Esto
FLORIDA/C.\RIBBE;\jN ,\RCII1TECT December 1997
11
Setting the Stage for Fun and Romance
Le Coco Beach and Sugar
Beach Resorts
Mauritius
Fugleberg Koch Architects
Clearly, imagination drives the design of hospitality development. From devising an overarching theme to providing the smallest details, there is a lot of fun to be had in this very serious business.
Selected to provide creative leadership for two distinctly different properties on Mauritius, in the Indian Ocean (southeast of Madagascar), Fugleberg Koch Aichitects (FKA) began by taking a look at the island's natmal assets, its global identity, its competitive inventoiy, and its liistory.
Le Coco Beach. At tliis location, a stillboni beaclifront hotel, tlie challenge was fomii- dable. FKA!s solution sought to cajjitalize on tlie island's tiopical image — and tJie discoimted acquisition price — to create a cost-effective, fun place for family getaways. The reincarnation began with a concept that revamped and repositioned tlie common areas, and ended witli a wliinisical palette of tile and wall p;unting that underscored its
Le toco Beach. Tent-ivojcd k iimk.'^ c.iifiid the color-drenched theme as well as senring as guideposts and central service points for towels and sports equipment. Photograph: Mike Wilson
lighthearted new identity: Le Coco Beach.
Selective demolition of clumsy architectural elements was offset by imique appoint- ments of fabric roofs, a central garden atrium, and abiuidant re- vegetation. (Diuing the yearlong construction, a nursery was created on site to cultivate the native plantings.) Rubble from the site was used to relocate the main entrance to the building's upper level, where guests, under
the Imiiinous tedlar tent-ceiling, eiijoy the sea breezes and views. •Just below, joined visually and by a dramatic staircase, is the dining room.
Here as throughout the resort, the final transfomiation was effected by color Every smface, inside and out, has been enlivened by tile or paint in vibrant custom shades. Use of dynamic colore and fabrics helped tiansfomi even those portions of the hotel that did not receive extensive renovation and, in some cases, color was used to help guide guests in finding their way around.
Extensive work went into the recreationaJ facilities: a large
pool, a recreation complex (created from the old basement considered dead space), a 9-hole golf course, and "kids clubs" for various ages. Truly a family resort, open less than two years, Le Coco Beach has exceeded all expectations and is the island's most popular 3-star property.
Sugar Beach. The island's colonial sugiucane plantations led to the name Sugar Beach and Oieming for tliis completely new resort, biult along a broad beach on the west shore. A fictitious love story borrowed from local folklore inspired its look, a stage set that sought to recreate a time and place reflective of the island's colonial
Le Coco Bench. Tlic central (junli u ulniiin n'as the project's major new construction. Tiled and painted surfaces accentuate fanciful architectural features that e.vlend the wall mural to three dimensions. Photograph: Mike Wilson
Le Coco Beach.
12
Kl.l )RID.VC.\RIBIiEAN .XRCIIITECT December 1997
Teams for Sugar Beach and Le Coco Beach, U.S. South Africa (S.A.) and Mauritius (iVI.) Design Architect:
Fugleberg Koch Architects
(U.S.) Principals in charge:
Robert Koch, AIA, Gregg
Hemann, Ted Hunton (U.S.) Architect of Record:
RFB Consulting Architects
(S.A.) Landscape Architect:
Patrick Watson (S.A.)
Structural & Civil Engineer:
SIGMA— Ove Arup &
Partners (S.A.) Mechanical/Electrical Engineer:
Watson Edwards & van
der Spuy Consulting
Engineers (S.A.) Quantity Surveyor:
Hooloomann & Assoc. (M.) Cost Consultant:
Mcintosh, Latilla Carrier &
Laing (S.A.) Development Consultant:
Dene Murphy Management
Co. (S.A.) General Contractor:
Besix (M.) Interior Design:
Wilson & Associates (S.A.) Interior Principals:
Paul Duesing, Michael
Crosby (S.A.) Project Management:
Schneid Israelite &
Partners, Ltd. (S.A.)
Owner: Sun International
Sugar Beacli. Quiet hues and carefully deluded cunslrucliun are unique lu each Vilkt. but all feature broad patios and balconies to catch sea views and breezes. Photograph: Mike Wilson
era. FKA's task here was to provide an excellent mid-level 3.5-star facility on this island of •5-star resorts.
Local architect John R-angois Koenig conhibuted liis expertise on the Island's architectiuBl heritage. Tlie result is a colonial village witli arcliitectiue vaiying in size, color, and chaiacter. Fiom tlie dominant gi-and manor house to tlie villas and nLstic commerce center, based on an old sugai' mill, all aie faitliftiUy replicated in soft pastels with delicate detailing.
Traditional stone, wood siding, ;uid other exterior fmish looks were achieved using stucco overcoating over monsoon-proof concrete
construction. Several kinds of metal roofs — historically accurate and still used — contribute to the random organic look of the village. Convenient amenities such as boat rentals, spas, and shopping are scaled to fit with the old- world theme.
Guests, mostly Europeans, find the most elegant accommo- dations in the manor house. The villas, intended to look like villagers' housing are comfort- able and give access the beach.
shopping and other amenities, which are centered in the commons. A single facility with miique discrete components, the commerce center serves as the village hub.
FKA, based in Winter Park, has a long history of housing projects in Florida as well as in the Caribbean, Africa, and the hidian Ocean. From liLxuiy imits to affordable housing, in recent years the fum has averaged one thousand new built units per year. ♦
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Sugar Beach. Manor House.
KI.ORll).Vi:AK]lJIiE.\N ,\RCIIITECT December 1997
Sugar Beach. Light, .sea air, and old world atnbieuce pervade tlie Manor House lobbg. Pliotograpit: Mike Wilson
13
Imagination: The Key to Global Markets
HHCP Design International
It looks like aii ancient Caribbean seaport. Ten thousand people, all ages, are walking, talking, playing, eating, splashing. But it is the Korean countryside.
Is it real or just a dream?
LaiTy Ziebarth doesn't see much difference. If he can dream it, they can make it — HHCP Design International, that is.
The linn, sister company to Helman Hui'ley Charvat Peacock/Architects Inc., Orlando, boasts a growing reputation in the international leisure and hospitality industry for imaginative design and the capacity to bring extraordinary projects to life. In the past ten years HHCP Design Interna- tional has amassed a long project list that includes dozens of theme parks — in Asia, Russia, Europe, and United Arab Emirates; a transportation museum in Caracas, Venezuela; an undergroimd pirate theme attraction in Verona, Italy; a Fantasy Island water paik in Singapore; and a nmnber of indoor theme parks, including
Kia Motors Pavilion, Taejon, Korea, 1993. Photograph: HHCP Archives.
the world's largest, in Istanbul, Turkey.
Entrepreneurial companies such as HHCP looking to share their capability and know-how are finding an open market in the expanding global economy.
Yes, there is plenty of competi- tion. But for those willing to venture out, take risks, and learn how to "act globally," the rewards are great.
Zeibarth, Associate ALA, a Florida A & M University
Toy Box (Nugashima Family Amusement Center), Kagoshima, Japan, 1995. Photograph: HHCP Archives.
architecture graduate, started as an intern with HHCP in 1983 and now heads the Interna- tional division. Initial overseas ventures were pitched and won based on the firm's solid achievements in Florida. Among HHCP's high-visibility projects in the state are the AlA-award winning "Shamu, the Killer Wliale" stadium at Sea World, the Marriott Grande Vista Resort, the Hilton Grand Vacations Club, several phases of the Orange County Conven- tion Center, the Orlando Science Center, and the Omni Rosen Hotel.
Determined that their expertise was not only exportable but highly market- able, in the mid-1980s Zeibarth led HHCP/Architects's initial steps onto the international scene. Extensive networking brought speaking engagements and seminars on theme park planning and leisure and hospitality design, which opened doors and opportuni-
14
FLORID.VCARIBBE/\N ARCHITECT December 1997
ties in Taiwan, China, Korea, and other Asian countries. Although the Kia Motors Pavilion project was an entertainment center com- pleted for a 1993 World Exposition in Korea, its design had the more permanent goal of establishing an international corporate identity for the automaker. During the past two years, efforts have been concentrated on several hospitahty and mixed-use projects in the Philippines, including the Portofino Bay Club, Subic Pier Village, and Boracay Fiesta Village Resort.
The local aspect comes into play differently on every project, and Ziebarth has mastered the art of listening, learning, and being flexible and a team player In putting together project teams, HHCP provides the specialized design and planning services and vision, but depends on local architects and professionals to supply knowledge of local building rules and standards and to help carry out the master plan.
Creative problem-solving is at the heart of architecture, and Ziebarth has applied his considerable flair to one global problem in particular: urban revitalization. His solution, which he calls the "Huburb, is a modern reinvention of the traditional plaza. Just as the plaza served as the hub of many European cities — a center for government, commerce, religion — the Huburb unites the major elements of today's society. A "pilot" project is currently underway in Spain, to recreate the neglected port of Gijon, developing its potential both as a tourist attraction and a vital community for its residents.
If Ziebarth and HHCP dedicate their expertise and energy to making the Huburb a reality, you can bet it is not just a dream. ♦
Boracay Fiesta Village Resort, a highly themed destination resort, expected completion date 1999.
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Portofino Bay Club, Subic Bay Philippines, a residential hospitality resort development, expected completion date 1999.
KUJHIl).V(:.\RlliliE.V\ AKClIITIiCT December 1997
15
Good Old-fashioned Modernism
Residence for David and Juliet Tibma Montecito, California Frank Folsom Smitli, FAIA
Take local niles, regulations, red tape, and "NIMBYism" in Florida, and double them. That describes what Sarasota architect Frank Folsom Smith encountered in Montecito during the course of tlus residential project. But forget about that. On the flip side, finally acknowledging a home so respectful of the conmiimity and site, neighbors offered compliments and acceptance.
The site, about 3/4 acre, formerly owned by the water company, had been perceived as an infonnal neigliborhood park. Tlie old stone pumphouse — a local landmark — was incorpo- rated into the new plan as an art studio for the owner.
Patience, experience, and the teamwork of architect, owner, and builder all were essential to the superb final result. Smith, who designed the owner's previous house in Tampa, was unprepared for the controversy but well-equipped to diiect the project toward its happy ending. His sureness in ordering a simple, highly livable plan, suited to the client and
Great Hall, looking toward kitchen and studio. Painting by Bo von Hohenloke was extended across entire kitchen wall by Juliet Tibma. Photograph: Richard Atamian
respectful of the neighborhood, comes from solid experience with Florida modernism and a philosophy of sustainable design.
Smith did the design; a California architect did the working drawings; and the builders carried them out in meticulous detail. While Smith
Detail oJ'Microlam beams meeting extraordinary roofing and sheetmetal work. Photograph: Frank Folsom Smith
is used to acconmiodating East Coast hurricanes, he depended on the West Coast crew for earthquake construction. This entailed extra-deep poured concrete foimdations and 2" x 6" braced wood framing for the stucco structure. On the other hand, when Smith wanted a galvalimie roof, all but imheard of among mission style and tile roofs, the contractor searched the state to locate a supplier. The roof's low pitch, however, picked up from the pumphouse, is conuiion where there is not much rain.
Instead of reacting to neighborhood anger with gates and fences, architect and owner preferred that the south-facing house, which is visible from the street, have a light, open quality. Starting with guest pai'ldng at the lane, a gently cumng boaidwalk path leads through the entry pavilion into a landscaped green and up to a shaded court that operas directly
into the great hall loggia. Beams that form the comtyard pergola (and will soon be covered with vines) extend through the house to the north terrace.
The plan for the 3500 sf home is simple. Central is the great hall, light and airy with a 14-foot ceiling, comprising living, dining, and kitchen areas. Clerestory windows and glazed doors daylight and ventilate the interior while framing views of trees and garden sculptures. Maple flooring adds a warm look throughout. There are no screens, blinds, or shades, except in the bedrooms. To one side are two office/studios, to the other the master and guest suites. Garage and service areas ai"e behind the kitchen.
Landscaping, integral to the plan, was a great collaboration of owner, architect, and landscape contractor. The site was in a floodplain, hence the house and formal gardens were built up on poured concrete
16
FI.OHID.VC.VRIIilSE.VN' .\R(:1IITE( :T December 1997
Entrance through entry pavilion into garden and courtyard. Photograph: Richard Ataniian
foundations. After Smith designed a curved wall to outUne the south garden as a landscaped architectonic green, the owner, an artist and designer, took over. She created a sculptural focal point for the north garden wall, and deter- mined that the manicured grass carjDet inside the walls would be surromided by a grovmdcover of native plantings and wildflowers on the remainder of the site.
Sustainable design is a Sniitli hallmark, and the coastal Califomia climate made it easy. The kind of cross-ventilation that characterized older Florida homes was sufficient to preclude the need for air conditioning. And with clean radiant heating, the house is ductless, dustless, and quiet. Monthly energy bills have averaged less than -$100.
Living space like tliis harks back to a specicd time in architecture, says Smith, who describes this design as
"unashamedly modernist." Perhaps it is its underlying simplicity and impretentious- ness that have, in the end, made it a good neighbor. ♦
Architect:
Frank Folsonn Smith,
FAIA Project Architect:
John Potvin Production Architect:
Hugh Twibell (Santa
Barbara) Landscape Architects:
Juliet Tibma, Frank
Folsom Smith Landscape Contractor:
Nydam Landscape Civil Engineer:
Mike Jones General Contractor:
Peter Elliott Interior Desig:
Juliet Tibma Owners:
David & Juliet Tibma
7 Kilchei
8 0Hice/Studi6
9. Master Suite
10. Guesl Rootti j 11 Garage [
FU)RIIW(:.\RI1S1!E,\N ARCHITECT December 1997
17
New Identity for a Historic Region
Cundinamarca Provincial
Capitol Complex
Santafe de Bogota, Colombia
Alfredo Munoz y Cia,,
Bogota, and
VGA Associates, Orlando
AniEyor new government cen- ter in Colombia symbolizes the importance of past, present, and future in the life of a region.
This was behind the thinking of VOA architects in designing the interior public spaces of the new Provincial Capitol for Cundinamarca. The complex, which houses official functions as well as education and hospi- tality areas, has been heralded as the area's "new center of politi- cal life." Visitors encounter a so- phisticated blend of references, from rustic arches, distinctive brickwork, and pyramid con- struction to colorful pavements and posters to regional foods and flowers.
VOA Project Manager Hernando Gomez, AIA, wanted to ensure that the design team "spoke to the area's culture and history and, at the same time, projected the image of a people ready to enter the 21st century." VGA's careful research yielded clues that would inform the vari-
All streets converge at the Plaza de Encuentro (Meeting Plaza), where the symbolic form of a golden raftjlaoting on a sea of blue, elegant detailing, modern lighting, and a skylit dome evoke a sense of the past in this contemporary place. Photograph: Fernando Revollo
ous spaces of the public areas, laid out as four calles (streets) leading into a central plaza.
Approaching the complex, one sees four buildings — the py- ramidal Hall of Deputies, two multistory buildings housing various government agencies, and a taller stmcture comprising the governor's and executive of- fices— around the Plaza de Armas. It is below this level —
Interior "streets" setve as underground connectors for the four main buildings of the complex: Hall of Deputies, Governor's Adminis- tration, Health and Education, and Welfare Center.
imderground — that visitors find the public spaces that give pres- ence to the history and contem- porary life of Cundinamarca. Each distinctively themed "street" reflects some aspect of that experience.
The streets open into the Meeting Plaza, whose center- piece, symbolizing a golden raft floating on blue water, was in- spired by an ancient treasure depicting the legend of Eldorado. A futuristic video wall screens educational films on aspects of life in the province, or live broad- casts when the Deputies are in session. Visitors also meet here to drink coffee and erijoy the food court, filled with colorful carts featuring regional agricul- turEil products and dishes.
Architectural traditions of the Pre-Columbian Chibcha na- tion inspired the stonework and columns of the Street of Memory, a view into the past (which terminates at one of the agency buildings). Wall cases display ancient art and artifacts, and rough walls and pavers de- tailing early forms and symbols
lead to a park and sculpture gar- den meant to elicit a sense of history.
Underscoring the impor- tance of art in the region, the Street of Government, leading to the Hall of Deputies, highlights
. iun
Tlie Hall of Deputies's pyra- mid shape is expressed in the entry foyer, where monumen- tal stairs leading to the inain chamber help create a strong transitional e.rperience for V is ito rs. Photograph: Fernando Revollo
18
FL()Rll),V(;.\KIl!liE.\X.\R(:illTl;i:T December 1997
artworks ranging from ancient to contemporary. A wall of open doors, sandblasted to soften their edge, invites visitors to en- ter an exhibition hall that will feature changing displays. Sand- stone walls and a monumental gate leading into the Legislature Building are reminiscent of the tum-of-the-century character of Bogota's old government center.
The ilramatic Hall of Depu- ties is a light-filled pyramid. Us- ing sandstone and wood interior finishes, architects wanted to evoke the tiled courtyards of the colonial city.
A large auditorium intended for public lectures and stage presentations provides the
Bogota Architect-Builder:
Alfredo Munoz y Cia. Principal in charge:
Alfredo Munoz, SCA Project Architects:
Lorena Munoz, SCA,
Heriberto Saboya, SCA Construction Management:
Fernando Charry, SCI Owner:
Government of
Cundinamarca Owner's Representative:
Fiduclaria Caceres y Ferro
U.S.
Interior Architecture:
VOA Associates, Inc. Principal-in-Charge:
Marc VanSteenlandt, AIA Project Manager:
Hernando Gomez, AIA Senior Designer:
KImberly Rodale Project Architect:
Diane Chaney Designers:
Jenny Bermudez,
Raquel Limias Specialty Engineering Consultant:
Tilden Lobnitz Cooper,
Bob Donnelly
theme for the Theater Street. In- tended to evoke a city theater district, along a sandstone and terracotta tile street, walls are saturated with bright posters announcing bullfights, concerts, expositions, and fairs through- out the province.
Carts with flowers entice strollers into the Street of the Assembly, which leads to the large executive office building. Breaking and angling the wall here added architectural inter- est as well as more hanging space for photographs and art works. Just as streetside dining is common in every small town in the province, so it is here, as one edge faces the food court.
VOA was brought in to de- sign the interiors by the Bogota design-build project architect, Alfredo Munoz y Cia. There was enormous pressure to finish the entire ca. 400,000 sf, multilevel complex, including all interiors, and VOA had the added chal- lenge of just 18 months to complete the work. To meet the
Enclosiny the street-level Fluzu de Annd.s are the pwviiteiul government buildings that are the heart of this neic complex. Ramps and details reveal the brickwork that has given Bogota its distinctive character. At left. Health and Education, at right. Governor's Administration. Photograph: Fernando Revollo
deadlines, it wzs necessaiy to work onsite to develop details almost £is the project went up. Local contractors and artisans gave invaluable assistance in speeding the work by submit- ting shop drawings and
mockups. Credit also is due the governor, Leonor Serrano de Camargo, who herself held 6 a.m. site meetings, Monday through Saturday, to personally review details and provide sup- port and encouragement. ♦
Calle de la Asamblea (Street of the Asscnililg). .1 (Iraiiinlic .■sculpture announces the location of the museum, whose open pivot doors display the inaugural e.rhibition (Art without Barriers). Here the coarse terracotta flooring represents old traditions in contrast with Uie smooth marble wall panels representing change and innovation. Photograph: Fernando Revollo
FLOR]DiV(:ARIBBEi\N ARCHITECT December 1997
19
Principal Suppliers for Featured Projects
Sugar Beach and Le Coco Beach
Fiigleberg Koch
Principal Suppliers:
Ireland Blyth Ltd., Vemon Rustin Plumbing, Mansor Saxon, Top Turf Landscaping, Industrial & Hotel Equipment Mfg.
Tibma Residence
Frank Folsom Smith, FAIA
Principal Suppliers:
AEP Span (galvalume roofing). Joinery Shop of Santa Barbara (cabinetry). Eagle Windows, Kohler, Jacuzzi, Dacor (oven and range), G.E.
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21
Ancient Stones Tell a Tale for Today
By Diane D. Greer
Last July I made the first of a series of treks into the heart of Belize, a small Central Ameri- can country with one of the world's finest collections of clas- sical Mayan aichitecture. I was imited to serve as guide for a group of architects earning Con- tinuing Education credits.
Belize's economic status as a third-world country is readily apparent in its urban areas. Streets are narrow and con- stantly imder construction. Many houses and commercial struc- tures, even public buildings, seem makeshift £ind ramshackle. While larger cities such as Belmopan, Belize City and St. Ignacio have a smattering of aca- demic or high-style architecture, smaller villages contain wonder- ful collections of vernacular buildings which are functional and easy to construct.
This vernacular tapestry rep- resents the infill between Belize's "modern" cities and its rich Mayan civilization with stone tombs and temples such as those I had come to see at Caracol, Xunantunich, Cahal Pech, and Lamanai. It strack me that such large-scale stone construction stiU has validity, particularly as it relates to building in hot, hu- mid climates.
Mayan builders, possessing neither level nor square, relied
Vieiv of temple complex at Caracol, Belize. Photograph: Diane Greer
on human strength, ingenuity, and a high degree of construc- tional organization. The Mayan constructs of the Classic Period (250-900 A.D.) are clearly the re- sult of a revolution in stone building which began with the desire to build on a large scale and escalated to a concern for the niceties of design, including specific room uses and elaborate decoration. Made from well-cut, well-dressed stone, usually an
//( Gales Point, a typical Belizeau village, strings of wooden struc- tures collectively defining the best and ^vorst of vernacular build- ing styles adopted in hot, humid climates line both sides of a. single unpaved road. Pliotograph: Diane Greer
indigenous limestone, their large-scale structures have en- dured the ravages of heat, hu- midity, and time.
Surely during the 650 years of the Classical Period there were marked improvements in knowledge of construction and the techniques employed by craftsmen. However, assuming that such knowledge and skills were not written, but passed down in families and villages, much mystery remains about the architecture.
What were these secrets? What are the lessons for today? We can look at the settlements, with their plazas, temples built atop mounds and flat-topped ])yiamids, palaces, sweat baths, and ball courts, and recall that these cities were constructed without the use of the wheel. Rubble and limestone blocks were earned on the backs of hu- mans. It was men who sculpted the landscape to suit the builder's needs, levelling hilltops and sloping plazas to insure that the nmoff from rain would reach reservoirs.
We can deliberate on their use of the corbelled arch, the
most important structural ele- ment of Mayan construction, with its implication for small in- terior spaces. And for temple decoration, why roof combs?
Relevance for contemporary practitioners, buUdei's, and arciii- tects, can be foimd in critically ex- amining large-scale structures built in a climate similar to that foimd in Florida using indigenous materials and technology. Objec- tively re-evaluating these histori- cal buildings as they relate to the climate, landscape, siting, use, and internal spaces, and examin- ing the buildings as a series of technological problems that were solved by early builders devoid of modem devices, may yield impor- tant concepts for contemporary large-scale, enviromnentally re- sponsive architecture. ♦
Diane D. Greer, Associate Professor of Architectural His- tory at Florida A & M Univer- sity, is former editor o/Florida Architect. She will be leading a course this .spring on architec- ture in Belize for 20 CE hours. For more information, contact AlA Florida CE director Eileen Johnson. (850)222-7590.
22
KLI )KI|i.V(:.\RIHl'.E.V\' .\R(:lllTf:(:T December 1997
Risk.
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76-31
VIEWPOINT
Go South for the Winter: U.S. Technology Heats Up South and Central America
By Tuiii AIiiuso)i
New l>iiildings arc popping up all over places like Brazil, Honduras, Colombia, Chile, Ar- gentina, Venezuela, and Mexico. And each of these areas has pro- spective cUents yearning for U.S. technology. But experienced stateside design professionals agree that it is different doing business with our southern neighbors. Following are some of their tips to help prepare you for an excursion into the South and Central American markets.
1. Partner with an Engineering Firm
"The more U.S. technology you bring to the table, the bet- ter," says Bob Caine, division di- rector and senior electrical en- gineer at Tilden Lobnitz Cooper's (TLC) Fort Lauderdale office. Your architectural education and experience coupled with state- of-the-art engineering capabili- ties is the package these clients are after.
Selling "North American tech- nology" as a whole gives you an edge when marketing your ser- vices to local developers. For in- stance, North Americans are con- sidered the world experts in a niimber of areas: air-conditioning technology, electronic systems, and secmify, to name a few. Se- curity is a major concern, and where entrances to buildings re- quire flexible, secure controls, today's technology makes on- and off-hours access almost completely automated.
Another formidable chal- lenge in South and Central America is the quality and quan- tity of electrical power (it is not uncommon for the utilities to take a siesta around 2:00 p.m.). In today's electronic environ- ment, clean and stable power through the use of line condition- ers, generators, and UPS backup Eire essential to ensure that your client's operations continue to function as intended.
These and other aspects of planning that differ from U.S. standaids make it vital to part- ner with an engineering firm that
United Building, Sao Paulo, Brazil. A 22-story, 25,000 sf "smart" office tower, by VOA Architects, Orlando, with Tilden Lobnitz Coo- per Engineers. Features penthouse floor, 5 levels of underground parking, helistop, two 250-ton chillers, integrated energy manage- ment system.
can bring advanced U.S. engi- neering technology to projects. When Orlando-based archi- tect, VOA Associates, Inc., was ap- proached by a client In Sao Paulo, Brazil, the client wanted its new United BiiikUng to be a smart, se- cure, "North American-type" of- fice building. By teaming with TLC, VOA designed and delivered the 22-story, 250,000 sf, state-of- the-£irt high-rise that met their ex- pectations.
2. Work with a Local Architect
Based on his experience in Brazil, Argentina, Honduras, and Mexico, Keith Mawson, vice president of architecture and
engineering at McClier Inc., At- lanta, points out hiring a local architect is vital. "Local con- struction methods and owner- ship vary widely." says Mawson. "For instance, architects in Ar- gentina and Brazil own the build- ing integrity and liability for- ever." In addition, the building materials are unfamiliar. It is best, he adds, for you to do the design and development sche- matics, and let the local architect handle the construction.
Mawson also explains that it is important to know who you are working with, and to find a "partner" that shares your busi- ness philosophy. Consult local contacts, listen to recommenda-
tions, check references, and in- terview potential finns. Ask the head of the Institute of Archi- tects or a similar agency in that city for suggestions.
Working directly with a local firm in Tegucigalpa, Honduras, proved beneficial for SpLUis Can- dela & Partners when the award-winning Coral Gables ar- chitect was selected to design the $30 million, 220,000 sf, four-story Bank of Central America office there. The local architect was instrumental in dealing with governmental agen- cies on construction permits and other red tape, providing smooth sailing for the project.
You should also get ac- quainted with the capabilities of area technicians, artisans, and service personnel. Designing high-tech systems without com- petent local installers and ser- vice staff can be disastrous.
3. Get to Know the Language and Customs
Any efforts to learn the local language are appreciated. For instance, in much of Latin America, firms Uke SpilUs Can- dela and VOA have the dual ad- vantage of Spanish-speaking principals and staff and North American advanced technology capabilities. Take fluent staff along to bridge the language bar- rier, but be sure that those vis- ibly leading the business pursuits are high-level teclmical represen- tatives. Tills will assure cUents that they are getting U.S. know-how.
Be aware of local culture and customs. Bob Caine learned on a trip to Latin America that our custom of passing out business cards in meetings was consid- ered offensive by liis hosts. He learned that unless they initiate such an exchange, they consider you "mal educado," or impolite. And never refer to yourself as "American." South and Central Americans find this very annoy- ing. We are from the United States, or North Americans — "norteamericanos." Consult with
24
Fl( )RiniV(:.\RlliHi;AN .architect Decemlier 1997
employees or friends who are acquainted with area customs, or call the American Embassy.
Remember that clients most often are prominent, educated individuals. The exchange is mutually beneficial. You can learn as much from them as they from you.
4. Discuss Terms of Payment in Advance
Perhaps the hardest, but most necessary, aspect of busi- ness is agreeing on payment — and that is true worldwide. Just as you would in the U.S., discuss the issues diplomatically upfront. But you will need to ad- dress a few additional issues. Make sure your fees are paid in net U.S. dollars through a U.S. bank. If not, you could lose your shirt. You could find yourself with a 20-30 percent reduction in fee because of high local taxes and cunency exchanges. Many areas have agreements with the U.S. to eliminate double taxa- tion, but check before you as- sume that they do.
Don't get too caught up in the glory of global work. Be pre- pared to draw the line on prelimi- nary, precontractual work. Se- cure your contracts directly with your cUents, and protect your consultants in the same manner.
5. Be Flexible
Hernando Gomez, VOA's co- ordinator of Latin American work, explains that the work en- vironment is different, and you must be flexible. Be prepared, he says, that projects are not going to be conducted as they are in the States. You will need to adapt to the local construction and contracting practices.
Duting work on the Provin- cial government complex in Bogota, Colombia, Gomez had to attend onsite meetings at 6 a.m. to suit the governor's work schedule. VOA also had to meet a tight timetable. The project had to be completed during the governor's term — 18 months from design to occupancy! With
no time to import U.S. products, VOA referred to cut sheets of U.S. products and located simi- lar products locally.
Construction often moves at a slower pace or schedule than we are used to in the States. It call be in one's best interest to place observation of work on an hourly basis, at specific mile- stones, and at the specific re-
quest of the client for all visits. Prepare to make concessions, and you'll have an Ccisier time conducting business.
In conclusion, the best part- ing advice is self-reflection. TLC's Bob Caine says, "Ask your- self, where do you want to go, and why do you want to go there?" If you explore the oppor- tunities available in Latin Ameri-
can countries and remain open to new challenges, something will come of it. Once you have built a solid international repu- tation, the clients may come to you. ♦
Tom Munson is an Electri- cal Project E)i(ji)icrr in the Cor- porate/Govcnniicntal Division at Tilden Lubnitz Cooper.
When it Comes to the Best Way to Build a Home... We Wrote the Boolcs
Two new design tools explain how to build economically with wood while meeting high wind requirements.
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By closely matching the resistance of the wood building system to wind loads found in the Standard Building Code, the Guide to Wood Construction in High Wind Areas makes it easier to design, build and inspect single story wood frame structures. And, for multiple story homes, you can now use the Wood Frame Construction Manual. Both docu- ments have been accepted by the State of Florida as alternative methods for achieving compli- ance with section 1606 of the 1994 Standard Building Code.
For flexibility, speed and beauty, build out of wood.
For information about the Guide to Wood Construction in High Wind Areas, the Wood Frame Construction Manual and semi nars on their use; or, to obtain a copy of either, contact the Florida Wood Council at
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FLORjaVCAKIIiliE.VN ARCHITECT December 1997
25
VIEWPOINT
Business Horizons in Puerto Rico and the Caribbean
By Beiijainin Vuiyas, AJA
The Caribbean. Its image of wiiite sand beaches under languid palm trees and sparkling, crystal clear waters can apply to any of the islands on the chain between Florida and the Venezu- elan coast of South America. Smart business people should keep this easy enchantment at bay when considering business opportunities in the Caribbean. How to trade in this region starts with recognizing that it com- prises more thein 50 distinct geo- graphical, political, and cultural entities, ranging from Guyana (83,000 square miles but only 850,000 people) to tiny island nations like Barbados (166 square miles and 253,000 people).
Politically, the range is equally great: Cuba with its so- cialist experiment, the internally independent Conmionwealth of Puerto Rico, European-based parliamentary democracies, crown colonies, dependencies, and even dependencies of depen- dencies. For most of the British, Dutch, and French islands, more than 70 percent of their trade is with their distant motherlands, which discourage trade develop- ment with neighboring islands. Says David Donzenac, owner of a construction firm in French Guyana, "Here we are in the Car- ibbean, but we're a part of France."
The cultural landscape is just as varied. So, good advice for firms interested in working in the Caribbean is to start investing in language classes, cultural sensi- tivity training, and regional guidebooks like Maiy Bosrock's Put Your Best Foot Forward South America. Says Bosrock, "Someone from the United States will spend hours learning how to negotiate the 18th hole, but won't spend the time to get to know the country they are going to do business in."
Caribbean nations, in spite of wide divergence in size, ances- try, language, history, population density, and political organiza- tion do share a common culture.
This results from their some- what parallel experiences as plantation colonies populated by imported laborers and domi- nated by distant economic and political powers. Cut off from their homelands, the Caribbean peoples made a virtue of neces- sity by combining the disparate elements of their past and their new environment to produce a truly new cultural manifesta- tion, immediately distinct and recognizable around the world.
ships in Latin America. Also, their office boasts many multi- lingual designers.
Those who do business in the Caribbean and Latin America know that the slow early pace is both standard and worthwhile to establish the proper framework to deliver the services required. Another strat- egy is having a local office, with people trained in the "North American" standard of practice. Spillis Candela has held sympo-
Carihhean clients value North American tech- nical and design know-how when judiciously mixed with an openness and sensitivity to the host country and client.
A recent Summit of the As- sociation of Caribbean States (ACS), which attracted more than 500 representatives of 25 nations and 5 associate states, focused on trade, transporta- tion, and tourism. The three- year-old ACS is described as having the potential for becom- ing the world's fourth largest trading bloc, after the European Union, the North American FYee Trade Agreement, and the Asso- ciation of Southeast Asian Na- tions. All told, ACS's eligible membership would represent more than 200 million people, a gross product of $500 billion, and annual imports of $100 bil- lion and exports of $80 billion.
Caribbean clients value North American technical and design know-how when judi- ciously mixed with an openness and sensitivity to the host coun- try and client. The key to over- seas work is language, there- fore, few firms are able to go into foreign markets cold. Arquitectonica, due to Bernardo Fort-Brescia's roots in Peru, has long cultivated relation-
sia for the dozen or so similarly oriented firms it associates with throughout Latin America.
In many ways Puerto Rico has been a leader in the region. Our neighbors admire the tre- mendous progress Puerto Rico has achieved. It has been a model in many areas, particularly in in- dustrial development and educa- tion, and its bilingusil capacity places Puerto Rico in an excel- lent position to bridge the lin- guistic barriers in the region.
Business-exchange opportu- nities can be comfortably framed within Puerto Rico's public and private sectors. We are on record as committed to NAFTA and other forms of re- gional cooperation to reach common economic develop- ment goals. Puerto Rico is a fer- tile ground, with extensive infra- structure to nurture all ideas and a friendly atmosphere where our neighbors feel at ease.
Eventual integration of Cuba into the free market would be considered an excellent devel- opment for Puerto Rico and the
entire Caribbean region. Al- though Cuba would represent formidable competition in the area of tourism, economically such an eventuality need not be negative. Given the tense rela- tions between Cubans and their exiled brethren, it is likely that the people who will be invited to train Cubans and update their tourism industry will be Puerto Ricans. The centuries-old rela- tionship between Cuba and Puerto Rico is based on a shsu-ed bond — along with the Domini- can Republic and Haiti — in their designation as the Greater Antilles.
Witness the particular situa- tion at the ACS opening ceremo- nies with Cuban President Fidel Ccistro lamenting "the painful absence of our brother country Puerto Rico." Puerto Rico's Gov- ernor Pedro Rosello Sciid he did not attend the ACS Summit be- cause "it would not be correct to share the room with a represen- tative of a goverrunent that is not elected."
The talents and strengths of Puerto Rico and its people can be used to the utmost for bridge- building at all levels, in all professions, to seek excellence and launch cooperative ven- tures, both here and elsewhere in the Caribbean. Caribbean people, regardless of ancestry and class, are devoted to the local culture in all its juxtaposi- tions. The smart businessperson should realize this and work to- ward integrating these values. ♦
Ben Vargas, AIA, with Gautier & de Toires Arquitectos, Santurce, Puerto Rico, is a past president of AIA Puerto Rico.
26
FLORIDA/CARIBBEAN ARCHITECT December 1997
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INDEX TO ADVERTISERS
Buyers' Guide
Architectural Design
Design Works Creative Partnership
Building Materials
CSR Rinker Materials
6-7
IBC
Architectural Rendering
Genesis Studios, Inc
OBC
Building Products
Aluminum Services, Inc.
.21,31
Artificial Thatched Roofs
Tropic Top
CADD
. 27 Intergraph Corp.
.29
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76-26 30
Claims Control
Associated Cost Engineers 28
Concrete
\^Tong 2
Construction Claims
Project Development International, Inc 30
Construction Management
Project Development International, Inc 30
Construction Manuals
The Florida Wood Council 25
Continuing Education
Trus Joist MacMillan 20
Cost Estimating
Associated Cost Engineers 28
Curtain Walls
EFCO Corporation 28
Design Software
Intergraph Corp 29
Doors & Windows
Window Classics Corp 27
Drafting Supplies
Intergraph Corp 29
Duct Work Accessories
RCD Corporation 29
Energy Technology
Florida Natural Gas Association IFC
Engineered Lumber
Trus Joist MacMillan 20
Glass Blocks
Glass Masonry 28
HVAC
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FLORIDA/CARIBBEAN ARCHITECT December 1997
INDEX TO ADVERTISERS
Buyers' Guide
HVAC Adhesives & Sealants
RCD Corporation 29
Insurance
AIA Trust 5
CoUinsworth, Alter, Nielson, Fowler
& Dowling, Inc 27
Sedgwick Of Florida, Inc 28
Seitlin & Company Insurance 23
Suncoast Insurtince
Associates, Inc 23
Spiral Stairways
American Ornamental Corp.
Store Fronts
EFCO Corporation
21
.28
Utilities
Florida Power & Light ,
Windows
EFCO Corporation 28
Windows & Doors
Ricketson Sash & Door Company 20
Window Classics Corp 27
Wood Windows & Doors
Ricketson Sash & Door Company 20
Interior Design
Design Works Creative Partnership IBC
Job Opportunities
The School Board of Broward County, FL 32
Marvin Windows & Doors
Window Classics Corp 27
Merc Adhesives & Sealants
RCD Corporation 29
Natural Gas
Florida Natural Gas Association IFC
Personnel Opportunities
The School Board of Broward County, FL
.32
Professional Liability
CoUinsworth, Alter, Nielson, Fowler & Dowling, Inc 27
Sedgwick Of Florida, Inc 28
Seitlin & Company Insurance 23
Suncoast Insurance Associates, Inc 23
Project Scheduling
Associated Cost Engineers 28
Risk Management
Sedgwick Of Florida, Inc 28
Roof -Tile
Masterpiece Tile Co 27
Roofs/Artificial Thatch
Tropic Top 27
FLORIDA/CARIBBEAN ARCHITECT December 1997
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BROWARD COUNTY SCHOOL BOARD
Broward County School has the following vacancies in the Facili- ties Department which deadlines 12/15/97:
Manager, Facilities Projects
(3 Immediate Positions)
(6 Future Vacancies Anticipated Within 6 Mos.l
Position: #SS-81 Salary: $48,495 - $67,549
BS degree in architecture, engineering, building construction or re- lated field, plus 5 yrs. exp involving commercial or public construc- tion projects with a basic knowledge of the various trades. Ten yrs. exp. in construction facilities for major commercial or public sector may substitute for BS. Must have current FL registration as an archi- tect, licensed contractor or professional engineer.
Architect IV
Position: #SS-40 Salary: $45,192 - $62,946
BS degree in architecture & 5 yrs. exp. Must be eligible for FL
registration as an architect.
Architect V
Position: #SS-028 Salary: $48,495 - $67,549
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Facilities Engineer IV (Electrical)
Position: #SS-041 Salary: $45,192 - $62,946
BS in engineering: must be eligible for registration in the state of FL as a professional engineer. Five yrs. progressively more responsible exp. in the design & construction of large commercial or public bldg. facilities. Exp. in technology, telecommunication & data communi- cation systems preferred.
For a complete listing of district level vacancies, please call our hotline at (954) 765-5525 or visit our website at www.browardschools.com.
To apply for any of these positions submit a cover letter with job title and position #, detailed resume describing job responsibilities and duties of employment, including required qualifications, copies of degree or transcripts, certificate, licenses or FL registration, and so- cial security card. Supply above for each position you are interested in. Mail, deliver or fax to:
Broward County School Board
Personnel. 2nd FL
600 SE 3 Avenue
Ft. Lauderdale, FL 33301
Fax # (954) 765-6566
EOE
ALPHiVBETICAL INDEX TO ADVERTISERS
AIATnist 5
Aluminum Services, Inc 21, 31
American Ornamental Corp 21
Associated Cost Engineers 28
CoUinsworth, Alter, Nielsen, Fowler
& Dowling, Inc 27
CSR Rinker Materials 6-7
Design Works Creative
Partnership IBC
EFCO Corporation 28
The Florida Wood Council 25
Florida Natural Gas Association IFC
Florida Power & Light 9
Genesis Studios, Inc OBC
Glass Masonry 28
Intergraph Corp 29
Masterpiece Tile Co 27
Project Development
International, Inc 30
RCD Corporation 29
Ricketson Sash & Door
Company 20
The School Board of Broward
County, FL 32
Sedgwick Of Florida, Inc 28
Seitlin & Company Insurance 23
Suncoast Insurance
Associates, Inc 23
Tiopic Top 27
Trus Joist MacMillan 20
Window Classics Corp 27
Y-Tong 2
ll,( )l(lll.V(;,\RlliliE.\.\ ARCHITECT December 1997
CREATIVE PARTNERSHIP LIMITED
DESIGNWORKS CREATIVE PARTNERSHIP, LTD
A multi-discipline interior design firm specializing in Residential, Commercial, Private Aircraft, Marine & Healthcare facilities.
6501 Park of Commerce Blvd • Suite #B205 • Boca Raton, FL 33487 (561 ) 91 2-9860 • (561 ) 91 2-9865 Fax
Lie. # 1 B 0 0 0 0 7 0 6
Affiliate Office Nassau, Bahamas
76-17
FINE ARCHITECTURAL RENDERINGS
G€N€SIS STUDIOS, INC.
225 S. Swoope Avenue, Suite 205
Maitland, Florida 32751 407 539 2606
800 933 9380 FAX 407 644 7901
www.genesisstudios.com
Proposed World Trade Center/Orlando, Florida Architects; VOA Associates Chicago/Orlando
Client: Faison — Maitland Concourse/Conceptual Rendering Architects: Smallwood, Reynolds, Stewart. Stewart & Associates, Inc./Atlanta
1927 Courthouse Conversion Project/Conceptual Rendering
Architects: SpillJs Candela & Partners, Inc. and Kha Le-Huu & Partners, RA. a Joint Venture/Orlando
76-13